The general observation for Andoy Ranay’s “Diary ng Panget” is that it’s a substandard “Cinderella” byproduct–and it is–where the youth would revolt for reasons no greater than excess pimples and earlier Mac book generations. Though one particular scene gleams with radiance and nags of biting reality: in a council meeting, a student of the lush Wilford Academy, flaps open her laptop. Hers is only slightly one model behind the latest, but her friends lay her pronouncing leers anyway, and she shrinks in receiving their quiet verdicts. It’s quite clear: in some mutely savage way, she is being excluded from the circle.
As spectators we receive a barrage of superfluous dystopia, where, to the most extreme, futuristic societies would whirl out of order to make room for interesting (if oft-times problematic) allegories; essentially about us societal underlings that are slaves to the system. As in Neill Blomkamp’s grimy socio-political sci-fi “Elysium,” which threatened to be the abysmal point of no return and where he endeavoured on a discourse about social divide, which is never at all justified. So if there’s any consolation in the comparable “Divergent,” it’s that director Neil Burger knew what to say in images what author Veronica Roth declaimed—quite enthusiastically—of her infantile ideologies in literature.
Of all memes the internet is glorified with, none except for the one above could muster all the emotion I carry for Scott Waugh’s shoddy adaptation of “Need for Speed.”