Sinag Maynila 2019: Jesusa, Shorts A

To what lengths will a viewer stomach suffering on screen? The cinema of misery will always find a place with viewers, but to this reviewer, I've come to the conclusion that miserablist cinema isn't for me. I feel that the process of making a film's protagonist an endless vessel for degradation walks hand in hand with the removal of their dignity as characters.

This endless train of suffering defines Jesusa's plot. Its titular character (played ably by Sylvia Sanchez) is unloved by almost everyone else in her life, even though she herself has so much love to give. While the story's setting definitely indicates poverty, it would be simplistic to call this poverty porn, as Jesusa's misery isn't directly impacted by her social condition - her misery is a function of her character flaw to love every asshole who comes into her life. Of course one could argue that  indirectly, yes, a few aspects of her life would have been easier had she not been poor, but Jesusa the character, with the same masochistic tendency to seek abuse, would probably be miserable in other ways regardless of social standing.

The plot of the film segues into drug use as Jesusa turns to them to lessen her misery. Drugs are everywhere in this film; it is depicted as an unkillable pest that pervades society. There is merit in trying to find out Jesusa's motivations, as people turn to drugs to escape the stark realities of everyday life, but the execution of that idea comes up a bit short.

And perhaps Jesusa the film's greatest failing is the lack of redemption in Jesusa the character, which also serves to undermine any message the film might have with regards.to rehabilitation. Granted, Jesusa lacks the emotional support systems to prevent a relapse, but the ending of the film just feels mean-spirited about the whole thing. Hopelessness and cynicism, like illegal drugs, are tempting to come back to in the realm of the cinema of misery. But in this reviewer's honest opinion, I don't think it necessarily makes for great cinema.

We Want Short Shorts Short Shorts Reviews Sinag Maynila 2019 Edition

Shorts A

Lawrence Fajardo's Memories of the Rising Sun is set during the Japanese Occupation, where a woman saves a Japanese soldier's life, creating a bond between the two. There are occasionally interesting ideas in this short, but they don't come out fully formed, and the ending has too many loose ends.

A sudden spurt of violence underlines Marian, a story about the monsters we create through abuse. It's decent enough and pretty straightforward stuff.

Based on a true story, Kilos feels like sketches, bits and pieces of a larger film. As it is, it feels relatively incomplete.

Bisperas feels like an advocacy film, but it is an advocacy worth sharing. There are also some pretty great shots in this film, which is pretty remarkable considering how short it is.

And finally we have Kiss, which is well-written, quirky and self contained. It doesn't go deeper into the specifics of its central idea, but it doesn't have to, and the way it ends creates a pleasant little loop.