From its sun-kissed cinematography of Baler to its opening monologue on myths, Apocalypse Child takes no shame in driving to the audience its theme of escape, and it is in dwelling in this longing to get away — to stick by the uncertain rather than to confront realties — that character drama is elevated and made ultimately compelling.
Directed by Mario Cornejo, Apocalypse Child tells the story of live-in-the-moment surfing instructor Ford (Sid Lucero) whose birth is of urban legend as it supposedly stemmed from his then 14 year old mother’s fling with the famed Apocalypse Now director, Francis Ford Coppola (Yes, that’s why he’s named Ford). He now lives seemingly happy, content with his his quaint beach bum lifestyle, until the return of his childhood best friend and now local congressman, Rich (RK Bagatsing), forces him to face realities, both present and past.
Apocalypse Child shines in painting well-rounded characters interconnected yet bound by their own respective mechanisms of withdrawing from reality. Whether it is child abuse, teenage pregnancy, parental resentment, or just plain underachievement, whatever each character’s issues are, they are linked by their need to deflect truths and instead bask in a veneer of self-torment and fantastical cop-outs.
An exception to the rule would be that of Annicka Dolonius‘ seemingly wise-beyond-her-years Fiona, who early on questions the constant need of the characters around her to find diversions and not just accept realities as they are. Ultimately, this is easier said than done as she midway through the film also finds herself in need of escape after realizing that she too has fallen into the pitfalls of her youth, not too dissimilar to Apocalypse Child‘s other stand-out character, Chona (Ana Abad Santos) — Ford’s mother who is a picture of a 70s flower child caged far too long in the fantasies she’s put herself in.
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The mood of just wanting to get away from it all strongly emanates from Apocalypse Child‘s stylishly chill cinematography and the strength of its whole cast’s performances. Each interaction, whether it may be those of perfectly-timed comedy or heavy-hearted tragedy, feels genuine. Even as Rich perpetuates this cycle of indirect “come at me, bro“s at Ford, luring his once-BFF to hurt him even more after a past transgression, conversations are rarely exposition-based; it doesn’t hold your hand and walk you through every detail. These are friends already on the same page, with a shared understanding, conversing and connecting. You may not fully get it but you understand their pain because you feel it.
Apocalypse Child, all in all, is a testament of the old adage that simplicity is beauty. In its laid-back, stripped-down approach in storytelling, it is powerfully evocative. You don’t just only feel the characters’ yearning to escape, you do so along with them.
https://www.youtube.com/watch?v=q5NUjN2zm7w
