Pista ng Pelikulang Pilipino 2017: Down Syndrome is Tackled with Grace in the Heartwarming Star na si Van Damme Stallone

TL;DR While it gets too sweet & aspirational by the third act, Star na si Van Damme Stallone is a funny, heartwarming movie that handles Down Syndrome with the levity & subtlety it deserves.

Down syndrome is a condition misunderstood by majority of the public. People who have Down syndrome are mostly mocked or ostracized by society. It doesn’t help that representation for people with Down syndrome is mostly nil.

Star na si Van Damme Stallone (Van Damme Stallone is Now a Star) proves it shouldn’t be that way. This is an excellent movie that gives people with Down syndrome & their families a chance in the spotlight, & have their stories told.

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Nadia (Candy Pangilinan) is a single parent who has to make ends meet to raise her two children Tano & Van Damme Stallone (who is given the nickname Vanvan), the latter of which has Down syndrome. The movie follows the family’s struggles & victories, as Nadia guides her children to adulthood, while Vanvan tries to achieve his dream to be an actor.

The best thing about the movie is it takes pains in showing how hard it can be to raise a child with Down syndrome without sugarcoating or overplaying the struggle or fears of every parent & family member. It focuses on the small, intimate moments, like Nadia worrying about your Vanvan’s future, Tano letting Vanvan get the lead role in a play, or the family defending Vanvan from bullies. It’s not afraid to go dark either, with one of the movie’s memorable moments involve Nadia doing something horrible to escape her life, but backing away at the last moment, quickly apologizing to Vanvan. It already knows that taking care of someone with Down syndrome is compelling enough on its own.

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Although this movie isn’t as dour as it sounds. This is a sweet & hilarious movie, & is better for it. Vanvan is surrounded by people who love & support him outside their main family, like his grade school teacher & her mother’s best friend Cecille (Sarah Brakensiek) & his uncle Jim (Richard Noson). It is partly aspirational, but it never loses its unsparing, realistic approach. There are jokes, but none are there to make Vanvan the butt of it. It makes for a charming movie, even as it deals with a topic like Down syndrome.

More importantly, Vanvan is depicted as an actual human. He’s not a never-ending obstacle for his family, a prop to emphasize how good his family is, nor an unlimited supply of goodness. Vanvan has wants, needs, strengths & flaws. The movie even indulges in bits of whimsy, taking us into Vanvan’s mind in an effort to show us who he is.

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It helps that the actors they chose to play Vanvan are excellent; both of which have Down syndrome as well. Jadford Dilanco & Paolo Pingol play young & old Van Damme respectively, & they both capture his playful, childlike innocence & his pricklier side. But the most surprising & outstanding performance has to be from Candy Pangilinan. She shows us the internal struggle of a single parent with a subtle, nuanced performance. It’s not showy, but it fits the movie’s mood & story.

The movie does get too sweet & indulge in unearned wish fulfillment by the third act. It tries its best to give everyone a happy ending, one of which involves a cameo appearance from Jasmine Curtis-Smith. It doesn’t matter, since it’s still absorbing by the end. Besides, Star na si Van Damme Stallone is the kind of sincere, good-natured family movie that rarely gets made anymore & it tackles the subject of Down syndrome with the delicate touch it deserves.

Pista ng Pelikulang Pilipino 2017: Ang Manananggal sa Unit 23B is an Excellent Horror Rom-Com You Shouldn’t Miss

TL;DR By combining a grounded romantic comedy with its own take on the manananggal mythos, Ang Manananggal sa Unit 23B is an ambitious, intoxicating movie you shouldn’t miss.

Jewel (Ryza Cenon) is a lonely woman living by herself in an apartment. The closest thing she has to a friend is a pet turtle she calls Edward. One day, a man named Nico (Martin del Rosario) moves in at one of the units with his grandmother (Vangie Labalan). Both of them strike up a friendship that blossoms into something more.

But there’s a problem: Jewel is a manananggal, a vampire-like mythical creature in the Philippines, who haunts the night by splitting herself in half, leaving her torso behind to fly away & devour unborn fetuses from pregnant women or the hearts of unlucky humans. The movie’s unique spin on this iconic monster is she can walk among humans & has no control of her appetite. When it hits, she will undergo immense pain, & can only curb it temporarily by rubbing a special oil on her belly. Then, she will lurk night clubs looking for potential victims, lure them into having sex, kill her victim, & gorge on their remains to satisfy her hunger. To make sure no one suspects anything wrong, she leaves behind a piece of cardboard with this text written on it: “Wag tularan. Pusher ako” (Don’t imitate me. I’m a drug pusher.)

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You can already tell Ang Manananggal sa Unit 23B (The Manananggal in Unit 23B) has lots on its mind just by reading the previous paragraphs. It delves in the ways female sexuality is feared & suppressed, & how Duterte’s drug war has allowed for malevolent forces to exploit broken systems for their own gains. The movie’s political & feminist subtext makes it thematically richer & surprisingly relevant.

Sure, it looks like a bunch of ideas thrown together, but it works thanks to the love story at its core. This is Prime Cruz & Jen Chuansu’s most ambitious effort to date, where their knack for crafting relatable characters engaging in amusing conversations is mixed horror with a sociopolitical bent. While Martin del Rosario & Ryza Cenon’s chemistry isn’t as strong as it should be, it doesn’t fall apart because they’re both have charming & the writing never fails them. Ryza Cenon is the absolute standout, revealing the multiple facets of Jewel’s personality & being with ease. They’re even backed up by the great Vangie Labalan, who makes the role of the eager, supportive grandmother endearing & funny instead of annoying.

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It also helps the movie sells the realities between Jewel’s double life, thanks to the top-notch production design, cinematography & musical choices. The veneer of normalcy is presented during the day, with drab greys highlighting the loneliness between the characters. Nico’s unit is a clean, organized, middle class home. Jewel’s unit has more ornate furnishings, but it still looks like an ordinary unit. But this movie, just like Jewel, comes out at night. That veneer is removed during the dark, giving way to stark, often neon-filled lighting that invites us to a world of mystery & terror that’s beyond us. Even Jewel’s unit reflects this, with neon red & green lights flooding the room, emphasizing Jewel’s duality. Since this is another Prime Cruz movie, the soundtrack & synth-heavy score is aces. It is evocative, memorable, & captures the isolation & danger the characters are caught in.

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The current cut we’re getting for Pista ng Pelikulang Pilipino is different from the one delivered in the QCinema Film Festival 2016. Nico’s arc is kept to a bare minimum, almost removing any traces of his struggles as a man who stopped fighting his own battles, literally & metaphorically. While it does make for a leaner movie that ramps up its central tension quicker than before, Nico turns into a flatter character & his actions in the movie’s 2nd half lose some of its weight.

Even if that were the case, it doesn’t detract from the movie’s merits. Prime Cruz’s 2nd effort was, & still is a masterful blend of romantic comedy & horror, elevated by its ideas on female sexuality & the current political climate, wrapped in a charming package.

 

Pista ng Pelikulang Pilipino 2017: Birdshot Lives Up to Its Moniker as a Coming-of-Age Thriller

TL;DR This “coming-of-age” thriller can be slow & awkward at times, but this is a movie that lives up to its moniker. Definitely one of the best Filipino movies of 2017.

Birdshot is one of the more atypical entries in Pista ng Pelikulang Pilipino 2017. It is billed as a “coming-of-age thriller” & it mostly delivers on that promise. It is a unique movie that combines two genres seemingly at odds with each other, yet it comes out fully-formed, creating an unforgettable experience.

It tells the tale of Maya (Mary Joy Apostol in her debut role), a young girl taken care of by her father Diego (Ku Aquino). They are poor & surrounded by fields of wheat, since they live on a land his father is taking care of. Diego wants his daughter to learn how to hunt so she could take care of herself when he’s gone. Maya unwittingly enters a sanctuary for the endangered Philippine eagle – Philippines’ national bird & the rarest eagle in existence – and decides to shoot one for practice. Her father isn’t happy about what she did, since killing one is a criminal offense. Now they both have to hide the crime to the police & try to keep their family intact.

It is also about Domingo (Arnold Reyes), an idealistic rookie cop with a strict moral conduct working hard for his family. He is partnered with Mendoza (John Arcilla), a corrupt cop who knows his way around the crooked system he works for. Both of them are investigating a missing persons case involving a group of passengers departing to Manila. Domingo is intent on solving the case, but is forced to drop it in order to solve the disappearance of a missing Philippine eagle. Mendoza wants him to focus on the new case, but Domingo wouldn’t listen, especially once he finds out that the passengers include a group of farmers who are going to reclaim a land that is rightfully theirs.

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These two stories dovetail to create a tale of corruption, conspiracy & survival in a world where institutions created to help everyone are controlled by the rich & powerful, leaving those who are defenseless to fend off for themselves. The result is a society built on a cruel food chain, where the weakest are left behind to suffer or worse.

And this is the world Maya & Domingo where they will undergo a rite of passage, forcing them to chose between doing the right thing or staying alive. The genre mashup takes a while to gel together, since it takes up lots of time to setting up its milieu. It doesn’t help the movie focuses too much on the “thriller” aspect of the story, which means there aren’t as many character interactions that would’ve made the movie land harder than it should’ve.

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That coldness even shows in the performances, which comes off as stiff at times, but the cast rises above it. Mary Joy Apostol is outstanding as a young girl forced to fight back for her survival. Ku Aquino is great as Maya’s stern & protective father who tries his best to shield her daughter in the world they live in. Arnold Reyes portrays Domingo as a man going through huge lengths to maintain his ideals & realizing it will cost him dearly. John Arcilla is often hilarious as a cop who’s finally settled into his role in this brutal ecosystem.

And yet, it pays off immensely in the 2nd half, where the two plots entangle further & the boiling tension ratchets up until it is unleashed to the audience. This is only Mikhail Red’s 2nd film & it fulfills the promise he showed in his debut Rekorder.  Fusing the tale of a young girl growing into a woman & a rookie cop who’s way out of his league within the framework of a thriller is pure genius. He exhibits a total control of mood & expertise in the technical aspects of filmmaking & it shows on every frame of the film.

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It helps that he’s backed by the great cinematographer Mycko David. Birdshot is filled of beautiful images, mostly isolating the characters in environments that engulf them completely, or using close-ups to trap them in the situation they currently in. The best examples of this often occur at night, where people would be swallowed by the darkness if not for a few sources of light available to them or shadows cast across their faces; emphasizing how they are a breath away from being subsumed by forces beyond their control.

That is a feeling familiar to most Filipinos & Birdshot captures it fully. It may not be totally successful, but the results are captivating & exhilarating, while emphasizing the cruel reality at its center.

#52FilmsByWomen 2017 Film # 3: Across the Crescent Moon

Who took a pledge to watch 52 films directed by women this year? This guy! Full-length & short films are eligible as long as a woman directed it; co-directing credits count too. The 6th movie on my list is Baby Nebrida’s Across the Crescent Moon

Across the Crescent Moon was one of rejected entries for the Metro Manila Film Festival 2016 & was released this year without any fanfare or a huge audience clamoring for it to stay in theaters.

Let’s keep it that way.

It’s a movie made with the best of intentions, but almost every aspect of filmmaking fails it completely. That’s not even counting the horrible & confusing message at the center of this godawful movie.

It tells the story between Abbas (Matteo Guidicelli) & Emma (Alex Godinez). Abbas is a Muslim SAF agent married to Emma, a Christian woman who converts to Islam. Her conversion didn’t sit well with her Islamophobic mother Mita (Dina Bonnevie). This all changes when her younger sister & the rest of her friends are kidnapped by human traffickers. Now, it is up to Abbas & the rest of the SAF (Special Action Force) team to rescue all of them.

It takes a long while to get to the main conflict of the story, though. We are treated to a few action scenes, but the first half is dedicated to showing Emma’s life as a member of an ordinary Muslim family & the affluent Christian life she left behind. It is presented in the broadest, most annoying way possible. Conversations with her mother devolve into witless, screaming matches about religious intolerance. There are scenes of Emma learning about the Islamic way of life, but it turns into a lecture Emma & the audience has to listen to. These scenes are disconnected from the main plot. They aren’t used so we could know more about Emma, Abbas & the rest of their families besides their backgrounds, because the characters are flatly written caricatures. Subtlety just doesn’t exist in the world of Across the Crescent Moon.

There’s even a pointless scene set around Mita’s birthday party that goes on forever, showing us footage of everyone having a good time eating & dancing, while telling the audience once again about her strained relationship with Emma without adding any new wrinkles to their dynamic. At the same time, Emma’s younger sister (Jerene Tan) ask both of her parents’ permission about their planned beach trip in full detail. We see her get rejected by her mother, & get permission from her more lenient father (Gabby Concepcion), while they also talk about Emma’s strained relationship with her mother. It is mind-numbingly repetitive & useless.

That’s not even counting the blatant product placement for Tanduay products & Cobra energy drink, the latter of which has Matteo Guidicelli as its spokesman.

When we do get to the meat of the story, it just emphasizes how inept this whole endeavor is. The action scenes are a bunch of rote, badly edited, shaky cam nonsense that do not thrill in the slightest. What’s worse is these scenes play as pure propaganda, since it supports President Rodrigo Duterte’s fight against crime, specifically drugs. One of Duterte’s speeches is played through the TV & Mita approves of his agenda & Ku Aquino is even playing General Ronald “Bato” dela Rosa, where Abbas’ operation to save the victims of human trafficking fall under him. It creates a narrative that supports Duterte’s agenda without poking through the very visible cracks within it.

This creates a morally dissonant movie, where there are pleas for acceptance among Muslims amid negative stereotypes while supporting Duterte’s war of drugs, which has caused numerous deaths & human rights violations. Apparently, pleas for humanity appeal only to Muslims, but not to drug users suffering from addiction. It doesn’t help that for a movie that shines a light on the plight of Muslims, there are no actual Muslims in the cast. It even has Rez Cortez even plays a Saudi Arabian man with a stereotypical voice; which should be noted is listening to a PowerPoint presentation about their booming human trafficking scheme.

And none of the actors are good enough to save the horrible script. Matteo Guidicelli is terribly miscast here. He just can’t make the horrible script work for him. Not only that, he looks less like a local Moro whose parents are supposed to be Christopher de Leon & Sandy Andolong, & more like the Spaniards who colonized Mindanao. Dina Bonnevie, Alex Godinez & Gabby Concepcion do get a chance to ham it up, but the dialogue they’re spewing is so dire & lifeless, it just makes it all worse.

All the movie has is its excellent presentation, with high production values, clear cameras, & crisp audio, but that barely makes for an average film. Once you dig slightly above its shiny surface, Across the Crescent Moon reveals itself to be a shrill melodrama, bland action movie, & Duterte propaganda all wrapped into a single movie. It wants you listen to its message, but blunders through it by being terrible. But if the message is as muddled as this, that might be the one good thing about this movie’s existence.

#52FilmsByWomen 2017 Film # 6: Kita Kita (I See You)

Who took a pledge to watch 52 films directed by women this year? This guy! Full-length & short films are eligible as long as a woman directed it; co-directing credits count too. The 6th movie on my list is Sigrid Andrea Bernardo’s Kita Kita (I See You). 

Kita Kita (I See You) has two problematic premises baked into its story.

Alessandra de Rossi is Lea, a tourist guide working in Sapporo, Japan. Her engagement of two years with her Japanese fiancee ends, once she finds he’s cheating on her with her friend. On her way home, she loses her sense of sight due to stress. While she’s alone, angry & blind, she meets Tonyo, played by Empoy Marquez. He’s her Filipino neighbor who wants to befriend her, since he’s all alone & homesick in a foreign land. She’s adamant at first, but once Lea lowers her defenses & Tonyo reveals his sincere, funny side, they become close enough to be a couple.

On the surface, it looks like a novel, innocuous spin on the hugot-filled romantic comedy, complete with a tourist-friendly destination bound to be visited by the movie’s fans & a romantic theme song sung by a well-regarded singer. That’s true. However, it is part of a long line of Filipino movies using the lead’s failure to meet the Western beauty standards to explore what “true beauty” is. You know, the one on the inside: kindness, integrity, & intelligence. It stretches back to the movies of Rene Requiestas & Zorayda Sanchez, and now comedians like Kiray Celis, Vice Ganda, & this time Empoy Marquez continuing this tradition.

While these movies allow those who look like ordinary people to star in their own movie, it can be a mean-spirited & hypocritical affair. It allows the audience to laugh at a person’s supposed shortcomings while feeling morally superior for siding with the protagonist. It indulges in the exact thing it demonizes.

These tropes can be tempered with the characters making the jokes themselves without bordering on self-hatred & making them self-aware, likable, capable human beings who fight back. But if the movie isn’t careful, it can tilt into the other direction & become hateful in other ways. A great example is Vice Ganda’s movies, where it goes out of its way to mock everyone that it often punches down. God knows we don’t need more jokes mocking people with dark skin.

The second one happens late in the film. It recontextualizes the rest of the movie & it turns Leo into a bit of a creep. To explain it would spoil the movie, so it would be better to skip the next paragraphs between the spoiler tags

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It turns out Tonyo lied about when they first met. After a bad breakup in Tokyo, he decided to go to Sapporo while on a bender because that’s the name of the beer he’s drinking. While taking a selfie with a Sapporo beer can, he accidentally captures Lea walking behind him.

That’s when he decided to follow her & hang out near her place. Lea mistakes him for a lowly beggar, so she always gives him food as she goes to work. While Lea is in a bad mood due to her fiance, she snaps at him, telling him to clean himself & fix his life. That’s when he realizes he needs to change. He looks for a job & a place to stay in Sapporo.

That doesn’t mean he stopped following her or intruding in her life. We find out that he’s the one who saved a kid from going to the fountain, the one who gave her the boquet of flowers in front of her house, the one in the banana suit, & the one who told Lea her fiance was cheating on her.

It turns Tonyo into a well-intentioned, opportunistic stalker. He tracked her down constantly, intruded on her personal life, bothered her constantly & introduced himself under false pretenses. It was nice of him to be there for Lea during tough times & telling her about her fiance’s cheating, & this part of Tonyo showing his gratitude to Lea, but this is still alarming, manipulative behavior. What makes it worse is the movie makes it out as a lovely, romantic gesture, when this kind of behavior would probably get arrested in real life.

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But the movie finds a way to soften these problematic elements by focusing on the burgeoning closeness between the central couple. With the two of them alone in Sapporo & Lea blind, no one can comment on Tonyo’s facial features constantly except themselves. And when it does, it does so sparingly. The first time it’s even mentioned is halfway through the movie, with Empoy making a cheeky joke describing his appearance to Lea. It was able to sidestep the “issue” with Empoy’s appearance without overwhelming the narrative with jokes directed at Tonyo.

The movie isn’t as successful at toning down Tonyo’s shifty behavior. While the movie makes it clear he did it all out of good will & gratitude towards Lea, it still doesn’t call him out about how he acted. Tonyo may be aware about his looks compared to Lea, but he’s not that aware how his behavior crossed some lines.

Despite these, the movie is ridiculously funny & charming it makes easy to forget its flaws. The script by Sigrid Andrea Bernardo has set up a wonderful premise filled with funny jokes grounded in each of the characters’ behavior & flaws that pay off at the end. It’s a small, grounded tale that pulls the audience in through pure emotion. Both of the characters aren’t as three-dimensional as expected, given the film’s devotion to focusing on their love story.

It helps this movie has excellent performances from Alessandra de Rossi & Empoy Marquez. Both of them rarely play parts in romantic comedies, if at all, yet this should prove they have the chops to headline their own movie. You can always rely on Alessandra de Rossi for a great performance, and this is no different. She has a warm, friendly presence befitting her role as a tourist guide, & she shows Lea’s pricklier side without creating any disconnect. But the biggest surprise here is Empoy Marquez. It’s no surprise that he’s funny, but his charisma in this movie is off-the-charts. His ordinary looks belie his charms, using his wit & confidence to become closer to Lea & reel us deeper into their love story. Together, they have a unique chemistry that should make other love teams jealous.

It even smoothens out the movie’s choppy editing, a result of Spring Films pulling out of MMFF 2016 to make it shorter. The pacing is rushed, making Lea & Tonyo’s growing relationship feel hollow. But it only reinforces the strength of their performances, as it fills the gaps left by the script & the editing. If anything, it makes the romance at the forefront of the story more potent. It proves that the only thing you need to make a good, memorable romantic comedy is a unique premise with a ridiculously likable, charming couple at the center, but it isn’t enough to make it a classic.

Can We Still Be Friends? is Not The Movie Its Title Makes It Out To Be

TL;DR: The title may be misleading, but this is a charming romantic comedy honed in on the specific struggles of long-term relationship.

It really doesn’t.

This movie doesn’t tackle the hotly debated question in its title. Rather, it uses that idea to examine a relationship at a crossroads.

Digs & Sam, both played by Gerald Anderson & Arci Muñoz respectively, have been together for eight years, living in a condo unit together both of them are still paying for. Sam is an ambitious, hardworking creative getting passed over for promotions. She mostly takes care of her boyfriend Digs, an illustrator who often freelances. He’s a charming, irresponsible slacker who doesn’t even clean up their condo. Sam wants Digs to be more responsible by doing his fair share of house work, help her pay the bills more often, go on exciting dates, propose to her, & refill empty pitchers with water while Digs wants to maintain their seemingly idyllic life. They both love each other, as their playful banter & Digs’ ability to defuse the simmering tension between them shows, but they are reaching a breaking point. Both of them finally snap & decide to end their relationship.

Digs is supposed to stay at his friend’s house, but when Sam offered him to stay in the condo out of courtesy – since they both own the condo unit – he took her up on her offer. Not only that, both of them decided they should be friends, creating one of the most awkward living situations in Filipino cinema.

And this movie milks the awkwardness for every last drop. Both of them try their best to be friendly with each other, even if the wounds from their break up are still fresh. It doesn’t help that Sam clearly loves Digs but can’t put up with his immaturity, while Digs is hoping for an easy reconciliation. It’s how they end up ogling at each other when working out at their condo & going on awkward Tinder dates.

The movie might sound farcical, but it’s the exact opposite. It’s a grounded tale that asks what happens when one person in a relationship changes & one doesn’t, whether we can be patient enough to wait for our partner to overcome his/her shortcomings & if love is enough to solve these issues. This is one of Star Cinema’s toned down efforts. It is more attuned to the specifics of their relationship, where every interaction is the result of the years they’ve been together with all of the baggage it carries. This means it could focus on the messy emotions onscreen.

In fact, this feels more like a Prime Cruz movie with a Star Cinema budget. There’s the heavy focus on urban life, cramped living spaces & the alienation that’s packaged with the former – this time heightened by an ineffectual partner & the subsequent breakup – scored with a spare synth reminiscent of BP Valenzuela – who scored Cruz’s debut Sleepless – that’s atypical of Star Cinema. His movies are always gorgeous & emphasize the spaces between the characters & the environment, but it gets a step up with his move to a major studio, making it his sleekest film visually. One of the best scenes in the movie highlight these qualities, where Sam is suddenly a part of marriage proposal & she tries to dance away her loneliness.

And he’s blessed with actors who can pull off the material with ease. Gerald Anderson has the boy-next-door charm that can make the audience overlook Digs’ flaws, but he’s capable of carrying a dramatic scene when needed. Arci Muñoz has the meatier role & she’s completely astounding in it. She’s captures the confidence, longing & sadness of her character without betraying what makes it tick, & can make you laugh with a simple facial expression. And the chemistry they have together can warm up the coldest of hearts, which the movie exploits, since they don’t spend majority of the movie as a couple. It makes us want to root for them even more.

But it’s not without its hiccups. It has the typical third act problems Star Cinemas usually have when its movies are forced to come up with a happy ending. This movie mostly avoids these flaws without betraying the movie’s themes by sticking its focus on the characters, yet it’s still rushed, skipping a few beats in order to get them back together.

However, it doesn’t tarnish the movie at all. It’s a small flaw in one of the best movies released by Star Cinema in recent years, & another excellent movie from Prime Cruz. It may not answer whether exes can be friends, but it takes something relatable & cringy & uses it as a springboard for something specific & real, with a more than capable couple at the center. It’s not the movie we expected, but it is better for it.

A Silent Voice Probes the Effects of Teenage Bullying Briskly with Mixed Results

TL;DR: While it may provide insightful commentary on the effects of teenage bullying, the amount of plot it has to unspool somewhat undercuts its intentions.

The latest anime movie to reach Philippine shores isn’t the straightforward romantic melodrama its local poster suggests. This is a movie attuned to the complexities of teenage friendships, the effects of bullying, & the struggles of the hearing impaired. It may not be the adorable tearjerker people are expecting, but it is a more rewarding watch.

Adapted from an award-winning manga, it tells the story of Shoya Ishida, a young boy who bullied Shoko Nishimiya, a deaf girl who just transferred into their school, alongside his friends to various degrees when he was in elementary. But when he ended up ratting out his behavior towards his friends, he becomes ostracized & bullied as well. Now that he’s in high school, he’s still an outcast. The pain & loneliness he feels causes him to make amends to his mother he troubled her when he was a kid & to apologize to Shoko before he commits suicide. However, when his plan fell apart, he decides to befriend her anyway, causing the people around Shoya & Shoko to explore what happened in the past in order to move forward.

The movie deals with heavy themes, but it’s neither soapy nor miserablist in the slightest. It’s a languid, tranquil movie intent on capturing the smallest details to create the biggest emotional impact; often using unbalanced compositions to emphasize the character’s isolation from his/her environment. Since this is made by Kyoto Animation, this is brought to life with beautiful, realistic backgrounds full of bright colors. The characters are animated with less realism, opting to emphasize their emotions. Whenever these characters smile, cry or just feel something, you can watch every movement of their face & body. Their eyes widen with glee, their bodies tremble when they are shaken & you can even see their teardrops falling from their eyes in such ridiculous detail.There are also moments of humor sprinkled throughout the movie; one of which is a smash cut that revolves around an innocuous reveal. Everything happens to try exploring its characters’ humanity while trying to dissect the effects of bullying Shoko, from Shoko & her family, the instigators, & those who stood by as it happened.

“Try” is the operative word there, because while it is sincere in its aims, adapting the whole story into a movie is not a good idea. It is crammed with so much plot that the movie is forced to either introduce it without giving those who have read the manga to care, rush these developments, or abruptly end it for the next one; which is counter-intuitive to its slow pacing. It also forces the movie to focus mostly on Shoya, nearly turning it into a movie about a guy redeeming for his previous sins, which gives us less time to spend on everyone, especially the deaf girl at the center of the story. The movie is aware that Shoyo might be trying to flatter himself, but it still doesn’t change the fact that the movie’s approach undercuts a lot of character development. It really would’ve been better as a two-hour anime.

Instead, what we have is a recap movie to a non-existing excellent season of anime. It still works thanks to its insights & attention to detail making sure that every emotional beat lands most of the time, but it’s hard not to think how great it would’ve been if we had been given more time to watch these characters facing up to the choices they’ve made in the past. Unfortunately, we don’t live in that universe, but at least we got a good movie from the manga here.