All six shorts in Set B are stronger when seen in conversation with each other, forming a coherently curated program in their preoccupation with stuckness, whether psychologically or circumstantially
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The great joy of a film festival is discovering new voices in filmmaking that have something to say, have worlds they want to initiate us into. The Manila Film Festival has announced the arrival of a handful of new filmmakers to watch out for. The shorts in Set B contain some of the festival’s highest peaks, works that present Manila not only as a place but also as a state of mind, with these psychological and spatial qualities seemingly inseparable from one another. But within this set are also the festival’s lowest valleys: works that seem confused about their politics, story, and form.
Though this unevenness might be considered disappointing, all six shorts are stronger when seen in conversation with each other, forming a coherently curated program in their preoccupation with stuckness, whether psychologically or circumstantially. Each director loosely depicts how Filipinos struggle for, negotiate, attain, and even miss out on emancipation, using a variety of genres that make Schroedinger’s cats out of its characters.
In its defining peak, young Angela, recognizing the stranglehold of her grandfather long after his death, rushes through the rooms in order to take her grandmother away from her increasingly violent, seemingly possessed mother. Sweeping through the house, the camera follows her as she struggles in her search for an exit, only to emerge as mother, then later her grandmother.
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