Tuos

Derick Cabrido’s ‘Tuos’ evinces an awe-inspiring tension between its weighty subject; the emotional manipulation of accepting and rejecting the responsibility of a ‘binukot’ practice and the sophisticated animation of ‘Sugidanon: Tikum Kadlum,’ this creative fissure works in the film’s favor which strengthens its artistic qualities.

Drawing from its cultural aspect ‘Tuos’ potentially becomes a genuine fantasy that throw-outs the clichés of Cinemalaya genre.

The film opens celebrating the verdure of panay mountains wrapped in misty atmosphere lives the fairest along with the women in the village Pina-ilog (Nora Aunor). As a binukot she’s detained inside her house, prohibited to go outside, face is enclosed with veil and tasked to keep the culture’s oral tradition. Dowokan (Barbie Forteza) her granddaughter is caged to succeed the task, educated that she doesn’t have a choice but to accept it; however she’s fiercely independent, defiant and in love with Dapuan (Ron Martin) which placed the inviolability of the pact in danger.

This is isn’t precisely a cask of ‘binukot’ story; it is more of a thorough reason how ‘Panay Bukidnon’ culture overcomes any obstacles, triumph and escapes the law that some find illogical in nature or how they fearlessly accept the progress of tradition.

One of the most notable scenes is the rough conversation between Pina-ilog and Dowokan before the wedding rites takes place. It is a mirror shot with their reflections talking, eyes about to explode in tears but they were able to control it up to the point that Pina-ilog overpowered her granddaughter saying, ‘Wara ikaw ti mahimo Dowokon!’ And with her submissive gestures Dowokon answered, ‘Indi takun gusto mangin guwapa La, gusto ko lang mangin masadya.’ It is a clear cut picture of the two best actresses in Philippine Cinema.

The dramatic and flamboyant shots moved to vast pine tree forest of Leon lit with golden torches, gaslight and is filled with rhythmic gongs. It is magical. It is perfect. Pina-ilog moves out from the covered hammock slowly uncloak and dance. The pivotal movement of the camera gives profound emotions as she moves her hands upward flapping it like a ‘banog’ bird. Unquestionably, the insufferable realm of affectionate spirituality is delivered by no less than the superstar.
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What’s incredible about this film is how it refines the fundamental nature of ‘Hinilawod’ as it adds bountiful touches to make it work cinematically. Both ‘Kiniray-a’ dialogue and chanting layers the film’s texture by providing a linkage from ‘Tikum Kadlum’ to Pina-ilog’s world.

Impressive it is when the transition is being made from a painful self battle to the spectacular view of animation. It lurches as ‘Tikum Kadlum’ moves out of the screen and it shifts to the world of Bulawanon and Datu Paiburong. However, the quest in the animated world is like a reverie sequence that lacks progression and details. It is stuck in the consequence of the destruction of the golden bamboo owned by Makabagting. There should be more beyond this because the path of Hinilawod epic is never straight it is overpoweringly moving, complicated and bold in its imagination. But not much of highlighted world has been given life in major films, with no doubt the classy and stylish visual effects influenced the film positively.

The ending is another story. It pushes fearlessly the mystery that wraps the fates of Pina-ilog and Dowokan. It is able to gather all the threads of exultant direction and visual merriment that never miss the opportunity to taste the bountiful epic of Panay.

It ends in a very convincing scene that for most is a bold imagination of how art, magic and film settle. It could perhaps be one of the best films of the year – a film to treasure.