An Englishman’s ‘Metro Manila’
When I heard a British filmmaker had helmed a movie called “Metro Manila,” I was again elated that international cinema has recognized the country and its capital as a worthy topic once more.
It was even more than just delving on the topic.
Director Sean Ellis even dived into the abyss, revealing truths that devour its setting, taking the cudgels from cash-strapped local producers, who would rather look at Christmas time for a killing.
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It was definitely a noteworthy take on the woes that force a family from the hinterlands to find its fortunes in the bustling metropolis, where the members’ lives are changed forever.
Indeed, “Metro Manila” so truthfully depicts the toils we all share and the struggles we fight each day, and the piece that became the toast of the British is now the United Kingdom’s official entry to the Foreign Language Film category in the 2014 Academy Awards. As such, even in Ellis’ native land, the story of “Metro Manila” is as significant.
“Poverty porn”
However, the portrayal still conforms to a continuing fixation on “poverty porn,” or the relentless exhibition of the subject’s pitiful plight to gain sympathy; or, in the cinematic world’s case, blockbuster box office receipts or favorable reviews; not really help their causes. It is putting glamour to poverty for obvious reasons, like possibly snagging an Oscar.
The film is part of foreign filmmakers’ endless “addiction” in illustrating life in the Philippines, as if that’s all there is and nothing else to see.
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Other films, like Erik Matti’s critically-acclaimed “On The Job,” though set in the backdrop of sleaze and filth, had gone the extra mile to present a story that’s fresh and compelling to watch.
The same goes for many of the newer independent films in country, particularly those exhibited in the last Cinemalaya, wherein such films as “The Houseband’s Wife,” “Transit,” “Sana Dati” and “Ekstra” gave a new face to Philippine cinema, putting it in a whole new level.
These films need not exploit the poor’s conditions to get noticed, but present compelling stories, extraordinary scripts, incredible cinematography, awesome film editing, spellbinding musical scores, stunning production design, and of course, brilliant directing and superb acting.
“Metro Manila” is indeed an admirable initiative and is, by all means, a masterfully-crafted project. But it seems it is so pitifully behind in how it presents a story about us. As a member of the audience said, “What else is new?”
