Well, this was late.
Ang Araw Sa Likod mo takes us through two narratives: one involves a group of soldiers on the hunt for a notorious terrorist leader, the other involves two brothers trying to make sense of it all by either trying to leave or trying to join said terrorist group. It's reportedly based on true stories from our Scout Rangers. I've a few relatives who joined the Rangers and their training is tough, their job challenging. Like any job in the armed forces, their lives are perpetually at risk.
Ang Araw Sa Likod mo takes us through two narratives: one involves a group of soldiers on the hunt for a notorious terrorist leader, the other involves two brothers trying to make sense of it all by either trying to leave or trying to join said terrorist group. It's reportedly based on true stories from our Scout Rangers. I've a few relatives who joined the Rangers and their training is tough, their job challenging. Like any job in the armed forces, their lives are perpetually at risk.
The movie does tackle a few interesting things. It immerses us into the war zone, where families are displaced thanks to constant strife. The relationship between the military and civilian population is also explored, showing us civilian attitudes towards the military and their role in the conflict.
I've heard that this is an advocacy film, but what is it exactly trying to advocate? Regarding the struggle down in Mindanao, the film frames it as milieu rather than a simple problem. It addresses radicalization among the civilian population, but it doesn't really show how or why these people become radicalized. The ending also leaves the brothers' story in a rather ambiguous place. Then again, that may be the point - that the struggle in Mindanao has become so entrenched that the reasons behind the conflict, and the why the conflict continues, collectively do not have a satisfyingly simple explanation. The conflict itself becomes the reason for radicalization in this regard. The film's complex treatment of its characters as shades of gray rather than mustache twirling bad guys works in its favor.
If we consider the story of the two brothers as a side story to the main plot, I'm guessing the film tries to humanize its soldier protagonists, portraying them as flesh and blood human beings with their own stories to tell. Here we come across a problem, as the film seems to be more interested in showing us the military operation taking place instead of developing its characters. Few of the soldiers are in any way memorable, and to be honest I could not remember any of their names just a few days after watching the film. I still remember Mabalasik-1 and Mabalasik-2, however.
And while it gives a lot of attention to military details on procedure, the film is crafted with some weird decisions. Soldier characters are seen ignoring trigger discipline. Some characters brandish rifles and point them at other people, but you can clearly see that the rifle isn't loaded with a magazine.* The film's title also refers to feeling the sun behind you during the morning prayer of Fajr; while in reality you should pray it before the sun comes up.
Ultimately the film does have some interesting things going for it, and in my own opinion it's not that bad a movie; however its noble aim is marred by strange storytelling decisions.
Proceeds from ticket sales go to the HERO foundation, which helps the families of soldiers that were killed or injured in the line of duty. It's definitely a good cause, and watching this film can help, though if you're not interested in the film, you can still help by donating directly to the charity and give tribute to our men and women in uniform.
*granted, you can technically load a round into a chamber of an M-16/AR-15 one at a time without using a magazine, but it's IMO impractical in a combat situation like this.
Nacho Vigalondo's latest film, Colossal, is about Gloria, a woman who loves going on parties and getting wasted drunk. The constant hangovers and her erratic behavior drives her relationship with her boyfriend Tim to the breaking point, leading him to kick Gloria out of his apartment. Gloria moves back to her childhood home, intending to piece her life back together. Meanwhile, strange things begin to happen on the other side of the world as a giant monster starts attacking Seoul.
Colossal explores a lot of topics: there's the obvious story connection between giant monsters and one's own personal neuroses, where real flesh and blood monsters are scarier because they're part of the people walking among us. There are also allusions to the power people can wield over other people and the anatomy of the abuse that inevitably forms within this hierarchy.
The first half of the movie sees Gloria on a path towards rehabilitating herself. It's clear here that she's trying (and not always succeeding) to take control of her life. The second part, on the other hand, shifts completely to something else. It becomes less of a (slightly) romantic comedy and feels much closer to a thriller. I'm not exactly on board with the shift in tone, but I eventually liked what eventually came of it. The only real problem I had with this shift was that it gave me the impression that the movie was trying to cram in too many things into its structure, leaving a lot of things out (Gloria isn't held accountable for some of her actions, for example, and her alcohol abuse is mostly handwaved away during the second half of the film.)
While not perfect, Colossal is still an enjoyable film, which again brings a human perspective to the limitless possibilities of fantasy and science fiction.
I've heard that this is an advocacy film, but what is it exactly trying to advocate? Regarding the struggle down in Mindanao, the film frames it as milieu rather than a simple problem. It addresses radicalization among the civilian population, but it doesn't really show how or why these people become radicalized. The ending also leaves the brothers' story in a rather ambiguous place. Then again, that may be the point - that the struggle in Mindanao has become so entrenched that the reasons behind the conflict, and the why the conflict continues, collectively do not have a satisfyingly simple explanation. The conflict itself becomes the reason for radicalization in this regard. The film's complex treatment of its characters as shades of gray rather than mustache twirling bad guys works in its favor.
If we consider the story of the two brothers as a side story to the main plot, I'm guessing the film tries to humanize its soldier protagonists, portraying them as flesh and blood human beings with their own stories to tell. Here we come across a problem, as the film seems to be more interested in showing us the military operation taking place instead of developing its characters. Few of the soldiers are in any way memorable, and to be honest I could not remember any of their names just a few days after watching the film. I still remember Mabalasik-1 and Mabalasik-2, however.
And while it gives a lot of attention to military details on procedure, the film is crafted with some weird decisions. Soldier characters are seen ignoring trigger discipline. Some characters brandish rifles and point them at other people, but you can clearly see that the rifle isn't loaded with a magazine.* The film's title also refers to feeling the sun behind you during the morning prayer of Fajr; while in reality you should pray it before the sun comes up.
Ultimately the film does have some interesting things going for it, and in my own opinion it's not that bad a movie; however its noble aim is marred by strange storytelling decisions.
Proceeds from ticket sales go to the HERO foundation, which helps the families of soldiers that were killed or injured in the line of duty. It's definitely a good cause, and watching this film can help, though if you're not interested in the film, you can still help by donating directly to the charity and give tribute to our men and women in uniform.
*granted, you can technically load a round into a chamber of an M-16/AR-15 one at a time without using a magazine, but it's IMO impractical in a combat situation like this.
Colossal explores a lot of topics: there's the obvious story connection between giant monsters and one's own personal neuroses, where real flesh and blood monsters are scarier because they're part of the people walking among us. There are also allusions to the power people can wield over other people and the anatomy of the abuse that inevitably forms within this hierarchy.
The first half of the movie sees Gloria on a path towards rehabilitating herself. It's clear here that she's trying (and not always succeeding) to take control of her life. The second part, on the other hand, shifts completely to something else. It becomes less of a (slightly) romantic comedy and feels much closer to a thriller. I'm not exactly on board with the shift in tone, but I eventually liked what eventually came of it. The only real problem I had with this shift was that it gave me the impression that the movie was trying to cram in too many things into its structure, leaving a lot of things out (Gloria isn't held accountable for some of her actions, for example, and her alcohol abuse is mostly handwaved away during the second half of the film.)
While not perfect, Colossal is still an enjoyable film, which again brings a human perspective to the limitless possibilities of fantasy and science fiction.
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