Last January 10, I was able to attend the last screening and ensuing panel discussion of the extended run of the movie 'Kaleldo' at the UP Cine Adarna. Present were Director Brillante Mendoza and Screenwriter Boots Agbayani Pastor.

The movie itself was well-crafted and well-edited, shot on film, and had a glossy look. However, I had a feeling while watching it, that the story did not match its presentation. Later on, the director would indirectly give us an insight why this was so. Since they had "mainstream" actors, they figured they might as well go for a "mainstream" feel. And so even the acting was, according to Mendoza, not "real-time" -- as was the case in 'Masahista' (which I have yet to see) -- but in the "dramatic mode". Watch the videos below for Mendoza's full comments. (You'll also get a good idea of the practicalities and the decisions -- including conceptualization and creation -- involved in the making of a movie).

The story is actually a simple story of three sisters played by Cherry Pie Picache, Juliana Palermo and Angel Aquino and their strict widower father (Johnny Delgado) and goes on to depict the "ordinary" conflicts and concerns of their lives, especially love lives. This kind of narrative in my opinion could have been more effectively delivered with a more "pedestrian" or even "gritty" depiction, in terms of cinematography, editing etc. As it is, the movie's look and presentation makes the viewer expect more grand or dramatic/melodramatic happenings.

Which brings us to the movie's strength. The movie attempts to depict multi-dimensional characters and realistic scenes. In terms of the dialogue and the acting, some of these scenes are more successful than the others, and most of these successful scenes involve Cherry Pie Picache whom the director admits to be his favorite actor in the movie.

Story-wise, the filmmakers of 'Kaleldo' should be commended for attempting to deviate from the well-trodden path -- as most of the audience members who stayed on for the forum pointed out, even drawing comparisons with movies like 'Kubrador'. On the other hand, there were some aspects of the story which could have been improved like a couple of scenes which one member of the audience pointed out as not entirely believable.

Be that as it may, 'Kaleldo' is still a good sign that the art of filmmaking is alive and well in the Philippines and that some filmmakers are at least aware that the movie-going public, or at least a significant portion of it, yearns for alternative fare. I am looking forward to watch Mendoza and Pastor's other collaboration 'Masahista' to see how the two movies compare or how they have deviated from their initial style.