Ang Lagusan (The Tunnel)
cast: Cris Villanueva, Gina Pareño, Alfred Vargas
The good: heavy-handed religious theme
The bad: that no one will probably see this film
Winning several awards and distinctions in international film festivals, Ang Lagusan is a locally-produced and directed indie film which just happens to be the best Filipino film I've seen for a long while.
Joel (Cris Villanueva) wakes up in a cargo ship with only a few items in his possession. Curiously, a sheet of paper leads him into an address were a quack doctor (and later an abortionist), named Ason (Gina Pareño) resides. Joel doesn't remember who he is or the shanty town where he is now, but Ason tells him that she is his mother. She also tells him about his supposed father and brother. There's a lot of backstory, and they're all crucial to the understanding of the film.
About half-way through the film, when all the major characters are introduced, the mood changes and Joel becomes more and more desperate about finding out who he really is (he doesn't buy the stories of Ason). Religious references are inserted and the viewer finally gets a clue as to what's happening.
Shot in what seems to be a standard video camera with little lighting effect, the film evokes a strong and real feel which sets the tone for the whole film. The effect is something akin to the film 28 Days Later, but with much subtler lighting work. Sadly, most moviegoers spoiled by fancy cinematography might get turned off by the style here and leave the theatre before the story even gets underway.
Going back to the story, the film reaches a satisfying climax with a tremendous Catholic message. Abortion, sex, drugs, all are depicted and all are beautifully crafted into the storyline. And all these comes with an overall convincing acting performance (Gina Pareño stands out the most but Cris Villanueva is perfect as Joel).
Jose Rizal, Crying Ladies...the list is short for Filipino films which I adored, luckilly Ang Lagusan comes along and delivers a breath of fresh air to our rotting film industry. (5/5)
The good: heavy-handed religious theme
The bad: that no one will probably see this film
Winning several awards and distinctions in international film festivals, Ang Lagusan is a locally-produced and directed indie film which just happens to be the best Filipino film I've seen for a long while.
Joel (Cris Villanueva) wakes up in a cargo ship with only a few items in his possession. Curiously, a sheet of paper leads him into an address were a quack doctor (and later an abortionist), named Ason (Gina Pareño) resides. Joel doesn't remember who he is or the shanty town where he is now, but Ason tells him that she is his mother. She also tells him about his supposed father and brother. There's a lot of backstory, and they're all crucial to the understanding of the film.
About half-way through the film, when all the major characters are introduced, the mood changes and Joel becomes more and more desperate about finding out who he really is (he doesn't buy the stories of Ason). Religious references are inserted and the viewer finally gets a clue as to what's happening.
Shot in what seems to be a standard video camera with little lighting effect, the film evokes a strong and real feel which sets the tone for the whole film. The effect is something akin to the film 28 Days Later, but with much subtler lighting work. Sadly, most moviegoers spoiled by fancy cinematography might get turned off by the style here and leave the theatre before the story even gets underway.
Going back to the story, the film reaches a satisfying climax with a tremendous Catholic message. Abortion, sex, drugs, all are depicted and all are beautifully crafted into the storyline. And all these comes with an overall convincing acting performance (Gina Pareño stands out the most but Cris Villanueva is perfect as Joel).
Jose Rizal, Crying Ladies...the list is short for Filipino films which I adored, luckilly Ang Lagusan comes along and delivers a breath of fresh air to our rotting film industry. (5/5)
posted by NaCl at Saturday, June 18, 2005
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