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In this festival coverage, we look back at the films from the QCinema 2019. John Tawasil of Present Confusion shares his views on Glenn Barit’s award-winning film, Cleaners.
Barit’s experimentations with form have been present ever since he started making films: in Aliens Ata (2017) the ‘alien’s eye’ POV effectively creates distance from us and his subjects, much like its subjects are separated from their OFW parents; in Nangungupahan (2018) his peculiar cut-out style helps establish an apartment as a place full of history and memories now gone. In Cleaners, all of the images are created from photocopied images, sometimes colored with highlighters. It’s a fitting visual motif: this film, after all, is a collection of memories; what are memories but hazy facsimiles of our experiences?
Cleaners is divided into several segments, each depicting a story about young people living their teenage lives the best they can. The stories are mostly things we’ve seen before, but the visuals give them an extra layer of depth. The standout segment (out of the four I managed to watch) is probably the second to the last one, where a political scion learns the ins and outs of small town politics firsthand. It’s an interesting intersection of youth and the larger, adult world that I don’t often see in teen oriented films such as this.
The last chapter of Cleaners is a collective cry out into the world – perhaps one last expression of youthful defiance or expression, one last chance to make a mess of things, before adulthood sets in and the classroom is cleaned for the next class to come.
This review originally posted from the author’s blog, Present Confusion
