The concept and themes behind Eduardo Roy's Lola Igna reminds me of another film, Dwein Baltazar's 2012 film Mamay Umeng, in that both lead characters are very old people who seek death but somehow cannot find it. But beyond that, Lola Igna also talks about other things: the dwindling economic prospects of remote farming communities, the hold of celebrity culture, a tribute to midwives and givers of life, and a general cultural reverence of old age.
The prospect of having Lola Igna (Angie Ferro) become the oldest living grandmother has excited the residents of her hometown; as a farming community, there aren't a lot of financial opportunities and this would be a good boost to tourism (not to mention the fact that there's a hefty prize to whoever manages to snag the prize.) But this doesn't matter to Igna, a cantankerous 118 year old who is prepared for death. She's literally brought life to this community - as the town midwife, she's helped deliver most of the villagers - but she misses all her dead friends and feels like the world has passed her by.
The tone is humorous but often wistful. Igna's desire to die stems from loneliness and the lack of something (or someone) to live for. Igna is ridiculously spry for a 118 year old that it stretches disbelief, but Angie Ferro's acting chops make us love the character anyway, making Igna a flesh and blood, likable, nuanced character.
This makes the ending to Lola Igna indelible: there is purpose found, yet uncertainty follows not far behind. There is joy in life still worth living, but now it's balanced with the fear of an inevitable death and things left undone. There is a sense of dread, but also undeniable hope for things to come. These are existential ruminations that both terrify and soothe us, and it's perfectly embodied by that moment.
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