Silong

To be among the fortunate few to see Silong in August 14th as Cinemalaya’s closing film – tense days followed as I continue to abridge the experience. There is this distinctive atmosphere of muddle, consternation, and abysmal expectation of how the film looks like or how this review will echo.

Silong is shrouded with abundantly symbolic annotation on the modern cinema as unrestricted swamp in which human outlooks and desires are flushed down the sewer. The layers in Hidalgo-Ho tandem remove the patented cut-and-chase style in creating romantic thrillers; they were able to craft a “delicate piquancy” and “intellectual permeation” in which will make this film a classic.

In an extraordinary case Doctor Miguel Cascarro (Piolo Pascual) wallops into Valerie (Rhian Ramos) on his way home one night; the furtive woman is badly pained and bedraggled with contusions. The unanticipated encounter becomes a remedy to Miguel’s grief, the death of his wife Caroline (Angel Jacob) and channeling his concerns in saving his ancestral house from the creditors. At several points throughout the movie the compassion to both characters descents into a struggle to return to an unobtrusive and ordinary verve.

Taken on its own merits the screenplay is hairsplitting and profound as the film inaugurated with a transporting cello melody played by Miguel as the milieu provides a glimpse of how his life is. Surprisingly, the development of the film turns out to be a paroxysm that persuaded the audience to live up to the expectations set by directors as it unfolds secrets after secrets. However, “Silong” is able to hang the viewers on their corresponding crossbeams and supplies an elucidation of the goodness of their characters and the film’s subtleness takes advantage of how the rest of the characters come into play.

Piolo Pascual’s brawl is naturally no perspiration. He is able to build a world class-struggle that indicated his personality as an unruffled doctor carefully marked with conspicuous indicator of his other personality. He often shifts between scenes portraying a personality that matches the struggle of Valerie that pulls the connection as they both manipulate the audience.

This is truly a fortuitous role for Rhian Ramos.  She persists to magically sustain the expectations as she battles it out with Miguel. This marks her class in acting as she fulfills the terrifying scenes and sequence with her body of work.

We all go a little mad sometimes and this madness is advantageous.
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For many years, Cinemalaya Independent Film Festival has been feeding with clichés and this transition period marks a big leap in cinematic scale. Almost three years in pending reels the tandem of Jeffrey Hidalgo and Roy Sevilla Ho leaves Cinemalaya Festival 2015 in wonderment.

Silong looks different; there is a shift of perception. A psychosis that is inevitable for the majority of the film is left to decide whether someone is rapacious on his past to push him over superiority or if someone’s demented propensities never really dwindled at all.

Part of the appeal of the film is to unconsciously displace the facts that these struggles are sometimes evident to the masses. They are essential, but indistinguishable. Silong is an illusion that calls for audacity not only to accept the facts but to withstand the loneliness of others that perception brings with it. The viewers must see it in a new way, rare and evident. But this film above all requires impudence to face the commanding and deceitful side of ourselves that we can only vividly grasp.

The unstoppable sense of excitement and thrill make the build-up so intense. I just want them to be themselves but the “doors” are being shut off at every turn. The final scene comes with a relief (but seriously?). It seems that finally that the whole thing is just an unscrupulous hallucination that happened to someone else out-of-the-way from our identifiable conditions. But the impression of the frightening, the suffocating Silong would not go away.