FILIPINAS

FILIPINAS tells the story of a family separated by rifts and conflicts. Florencia Filipinas, the matriarch, summons her children in an effort to unite the family once more. The plan backfired, unfortunately, for her children still holds resentment against each other. Past hurts and grievances then surface, a tense atmosphere of conflict hangs in the household. Things get worse when the matriarch’s health fails and she slips in a coma. Now, for the first time, the siblings become one in praying for health.

A typical clan with a striking last name. Set in the backdrop of social economic turmoil, the family reunites for the wedding of the youngest daughter. There is a family caretaker, an immigrated son, a military man, a rebellious son and a religious matriarch. Troubles plague the family and all seems hopeless as they turn on one another. A study of contemporary society, as it is seen through the perspective of a family heavily affected by the problems that beset the country.

PLOT

Humihina na ang negosyo ng pamilya Filipinas na pagtatanim ng sibuyas sa kanilang lupa. Habang patanda na nang patanda ang kanilang ina (Armida Siguion-Reyna), may kani-kaniya namang mga pangarap at mithiin sa buhay na pinagkakaabalahan ang mga magkakapatid. Tanging ang panganay na si Flor (Maricel Soriano) lamang na tumatandang dalaga at ang lubos na kumakalinga sa kanilang ina. Nang dumalaw mula sa Amerika si Samuel (Richard Gomez), panganay na lalaki, unti-unti nang lumutang sa pamamagitan ng mga di-mapigilang hidwaan ng magkakapatid ang mga hinanakit ng bawa't isa na akala nila'y nailibing na sa limot sa pagdaloy ng panahon. Umabot sa sukdulan ang gulo sa pamilya nang humantong ang di na mabilang na pagkakabungguan ni Samuel at Eman sa pagbagsak at tuluyang pagkaka-comatose ng kanilang ina.

May tanging kataga na angkop na angkop sa Filipinas: malaman. May malamang kuwento na buong-buo ang pagkakasalarawan, at maaaring mag-akay sa manonood sa higit pang malalalim na isiping may kinalaman sa pakikipag-ugnayan at buhay ng isang pamilya. Ang "lakas" ng Filipinas ay nasa napakahusay na pagganap ng mga punong tauhan (sa papel ng buong pamilya), lalung lalo na ni Maricel Soriano bilang isang matiising anak at tapat na kasintahan; ang kasaysayan ng pamilya ay sa kanya ring mga mata matatanaw. Lapat ang musika, sinematograpiya, at lahat pang mga aspetong teknikal ng pelikula, bagamat litaw na litaw ang ganda ng dialogue na binigyang diin pa ng akmang focus ng camera sa makatotohanang pagganap ng mga artista sa kani-kaniyang papel

Makikita ng mga manonood ang kanilang sarili sa alin man sa mga tauhan ng pamilya Filipinas. Ang mga ipinapakitang kalagayan at suliranin na karaniwang natatagpuan sa mag-anak—tulad ng inggitan, paninibugho, pagkikimkim ng galit, paboritismo, pagkasiphayo, pagkasira ng mga pangako, at iba pa—ay naroon sa pelikula, at nag-aanyayang pag-isipan ang mga ito bilang daan tungo sa ikabubuti ng pag-uugnayan sa pamilya. May isang wasto at napapanahong mensahe ang Filipinas sa manonood: bagama't mahirap nang pagkatiwalaan ang mga institusyon natin tulad ng militar at simbahan, may isa pang nalalabing institusyon ang masasandigan pa rin ng isang tao—ang pamilya. Nais sanang bigyan ng CINEMA ng GP rating ang Flipinas, ngunit may nilalaman itong mga sangkap na kailangang ipaliwanang nang mabuti sa mga murang isipan, kungdi'y maaaring mag-iwan ito ng mali o nakaliligaw na impresyon sa isipang salat pa sa pang-unawa.

Cast

Armida Siguion-Reyna Florencia Filipinas

Maricel Soriano Yolanda Filipinas

Richard Gomez Samuel Filipinas

Aiko Melendez Vicky Filipinas

Dawn Zulueta Gloria Filipinas

Victor Neri Emman Filipinas

Wendell Ramos Narciso Filipinas

Raymond Bagatsing Ramesh

Daniel Fernando Dindo

Andrea Del Rosario Jacqueline

Sunshine Dizon Diana

Tanya Garcia Dindi

Anne Curtis Lyra

Sarah Geronimo Kathlyn

Richard Quan Greg



Fate and Fortitude: The Filipinas Family


A Film Review of FILIPINAS
Directed by Joel Lamangan
Story and Script: Roy Iglesias
Produced by Viva Films


"Filipinas," the movie, is about Filipinas, our country. The setting is contemporary; affirmed in the first few seconds — a cellphone-snatching scene. The movie revolves around the story of the Filipinas family -- upper middle class, with a residential property and a few hectares of farmland. The siblings and other characters represent the different facets of Philippine society.
The story is narrated through Yolanda (Maricel Soriano), the eldest, a fledgling spinster. She manages the household and takes care of the needs of widowed and aging mother (Armida Siguion Reyna). Samuel (Richard Gomez) is a U.S. immigrant. Vicky (Aiko Melendez) trades the produce of their farmlot. Her business is barely surviving as it cannot compete in a market flooded with cheap imported farm products. Not even a partnership with an Indian financier, her fiancee, can keep business afloat.


Clara (Dawn Zulueta) is an overseas Filipino worker (OFW). Coming home, she finds herself alienated from her child and feels indignant over her husband's dependence and persistence on her being an OFW. Eman (Victor Neri) is an activist. He has transcended his bourgeois roots and committed himself to workers' causes. Narciso (Wendell Ramos) is a military officer. Not typical, he is idealistic, honest and handsome. He squeals on corruption within the military; gets assigned to Basilan; is killed in action.


Their individual stories do not unfold in a straight line. The scriptwriter and director craftily interweave their lives, revealing it part by part, little by little, giving it telenovela suspense. But, unlike the usual telenovelas, the lives of the characters did not move according to chance, success or failure based solely on individual perseverance or talent. Their lives are moved too by the nature and events of society of which they are a part.


The different persuasions and orientations of the siblings are enough reasons for disquiet. Mother Filipinas seeks tranquil repose in church and the calming words of the priest. When the priest revealed that he was leaving his vocation to take care of his son (a funky hiphopster, to emphasize the satire), she was dumb-founded. But what really knocked Mother Filipinas out was the fight between Americanized Samuel and activist Eman. In the melee, she literally got the fist and dropped to the ground unconscious.


The doctor diagnosed her state as irreversible and left the family to decide on whether or not to pull the respirator, the only thing keeping her alive. For a while, the family stood still; until Yolanda asserted that the family should not lose hope and do everything to keep mother alive. That is staking the future on fate. This is the weak point of the story.


Symbolically, however, it sends the message that no matter how dire the state of affairs of Filipinas, our country, we should not lose hope and do what we can to save it. Yolanda, representing the next generation, took the initiative by taking over the helm. Samuel opted to return to the U.S. Eman chose to join the struggle for the transformation of society in the countryside. The rest of the family, showing delight upon reading Eman's letter, implied their support for his cause. The film, as well as reality, presents these options.


The actors are shoo-ins for best awards. The crying scene during the burial of Narciso was a bit extended; but, overall, pacing was fast. Sex was nil (if an intimate scene of a bare breasted male and a lacey night-gowned female is "sexy," then it's almost nil.) There were sprinklings of contrived dialogues. Drama was abundant. All considered, to quote Bien Lumbera, film critic and Magsaysay Awardee for Literature, "Seldom does a movie refer to current events and allows audience to understand society." Watch "Filipinas," there is reason to hope.


Reference: Julie L. Po, Secretary General
CONCERNED ARTISTS OF THE PHILIPPINES
No. 65 10th Ave, Cubao, Quezon City