Boy, Filipinos do like their love stories. We've had like, what, a dozen romantic movies this year? Two dozen? I guess the only thing better than one love story... is three of them in one movie! Well, not really, but the end product that Para sa Broken Hearted represents is actually quite a pleasant watch. Framed as a series of stories and conversations between two jilted woman waiting for a bus, the tales making up the narrative are quite run of the mill, if you're familiar with common romantic storytelling tropes. In fact, the third story in particular is textbook Manic Pixie Dream Girl material, featuring a 'bubbly, shallow cinematic creature' with little character development uplifting a sad loner out of his predicament and making him a better person.
But that's not a dig at the film itself, because the filmmakers seem to have recognized the basic nature of the story and went all out to make the presentation as creative as possible. What results is a film that's never boring or samey, full of little quirks and stylistic choices that enhance the overall experience. There's magical realism in this film, and montages, and musical numbers, even. For that, at least, the filmmakers get points for trying, and when the individual storylines begin to criss-cross and merge in unexpected ways, the result is satisfying and emotionally affecting as the film aims straight at the heartstrings.
For a market that's quickly getting oversaturated with romantic films, Para sa Broken Hearted isn't a bad choice. Thanks to its numerous creative touches, it manages to stand out among the rest of its unremarkable peers.
Spoilers, but I don't care. Don't watch this shit.
You know, whenever I watch local films, sometimes a feeling of dread crosses my mind, the kind of feeling that tells me this film is ultimately going to be a horrible experience. I experienced such a feeling during the first few minutes of Connie Macatuno's Wild and Free, when ex-lovers Jake (Derrick Monasterio) and Ellie (Sanya Lopez) meet again. I shrugged it off, but it quickly became clear that my initial fears were justified, for Wild and Free merely wears the guise of a romantic movie, hiding its true, disgusting self underneath. There is one scene in this movie that perfectly encapsulates its attitude towards women: Jake and Ellie are off to a motorcycle shop to meet someone named Jane. Ellie is a bit jealous of the fact. As it turns out, Jane is Jake's motorcycle, and not the sexy woman servicing the bike or any other potential romantic rival. And that motorcycle is an accurate way to see how the women in this movie (in particular, Ellie) are treated: as things, objects to be lusted over, used and owned.
As the movie progresses, we find out that Jake is a pretty horrible, irredeemable person. We find out that his deceased older brother was Ellie's ex-lover, and he develops a complex of insecurity over that fact, because it was his brother, and not him, who was Ellie's first love - a complete non-issue taken to extremes because his fragile male ego can't take the strain. For most of this film, Jake thinks with his penis - he gets insanely jealous and possessive of Ellie as the film goes on. He gets jealous over imaginary situations that he himself makes up, berating his poor girlfriend over his own delusions. Jake embodies one of the most toxic male characters I've ever seen in contemporary local film, and it's disgusting to see it in action on screen.
What's even more disgusting is how Ellie's character (and the film itself, apparently) either dismisses or forgives Jake's shitty behavior, with no indication that he has the capacity to change. The final straw happens near the end of the film, when thanks to his overly possessive behavior, Jake rapes his girlfriend. The film conveniently dismisses this criminal behavior, treating it as a non-event, since Ellie doesn't seem to mind getting raped too much and the two of them eventually end up together again. I've said my piece again and again with similar garbage like The Hows of Us or The Maid in London whose plots forgive or dismiss problematic and plain evil behavior, but this really takes the cake. Why the hell do we keep writing screenplays and making films like this?
The only way I can even stomach this film is if it's actually an ironic take on masculinity and how men need to stop thinking with their dicks, but I doubt the people making it were aware of how stupid it is. The ending of the film is a nice metaphor to how I felt about Wild and Free. The ending has rapist Jake and lovestruck Ellie making out in the middle of a road, and their action - annoying, uncaring and without the least bit of self awareness or any understanding of the consequences - reflects how I think this film was made.
And finally, out this week is Liway, with a new musical score and cut compared to the Cinemalaya version. This film was that festival's audience choice, and it's easy to see why. Although the film is not perfect, it manages to tap into a certain feeling of love, whether it be for one's mother or motherland. I've said my piece about this film in my Cinemalaya coverage, and my feelings about the film have remained the same.
Since then, as part of the Third World Cinema Club podcast (and in conjunction with Film Police Reviews), I talked with the actors and producer of the film about Liway, which you can listen to by clicking this link.
I think Liway is an important film, especially in times like these, and I hope you take the time to watch it while it's in cinemas. I also hope people get to watch another Cinemalaya film, ML, coming out next month, for similar reasons.
By the way, stay for the credits, arguably one of the best parts of the film.
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