A hilarious look into the state of Philippine cinema

Film review: Ang Babae Sa Septic Tank Part 2

MANILA, Philippines – If you want a good laugh and a good insight into the state of Philippine cinema, the first film to watch in this year’s edition of the Metro Manila Film Festival (MMFF) is Ang Babae Sa Septic Tank Part 2 written by Chris Martinez and directed by Marlon Rivera.

Knowing the current state of the nation as it is now reflected in recurring tempests in the Facebook teapot, this country clearly needs a dose of a good laugh after which we can once again ponder where the industry needs to gather strength and where it could lead.

The volley of guffaws elicited by Ang Babae Sa Septic Tank Part 2 in its advance screening brought one to tears. It isn’t tears of joy but tears of pure discernment as to what so-called serious filmmakers go through in this country and why some film artists would rather see a blockbuster than earn those festival trophies that couldn’t cover production deficits.

But while the film has a hidden agenda for change in the industry, it did so in a hilarious manner that had audiences literally rolling on the floor with one punchline after another ably delivered by a versatile ensemble of actors composed of Eugene Domingo as her fictionalized self, Kean Cipriano as the beleaguered film director with Joel Torre and Jericho Rosales alternating as the leading lady’s outgoing husband.

The presence of Cai Cortez and Khalil Ramos as production assistants completes a good cast that introduced the audience into the unpredictable labyrinth of filmmaking. As the film winds up, you get a true-to-life twist with the guest appearances of director Joyce Bernal, Agot Isidro and Iñigo Pascual as themselves.

Eugene’s Metro Manila Filmfest starrer is written by Chris Martinez and directed by Marlon Rivera

Ang Babae Sa Septic Tank Part 2 is one of the big reasons why Filipinos should support the 2016 Metro Manila Film Festival.

One likes to think that this sequel is the more cohesive one — and the more entertaining one — still using the movie-within-the-movie narrative which flows with comic spontaneity.

The film is a triumph of screenwriting for Martinez inasmuch as it is a significant directorial achievement for Rivera.

For another, it is an acting coup on an epic scale for Domingo and an equally challenging one for Torre, Rosales and Cipriano as the true-to-life film artists caught in new and old priorities in filmmaking.

As expected, Domingo stuns twice over in the title role with comic variations of the characters she wanted rewritten. Her part is a virtual tour de force as she evolves from being a generous dinner host to vicious vixen, and ends up as a “benevolent” artistic dictator.

How the character of Cipriano reacts gives one a unique look on how the actor can cope with a major acting challenge and ultimately emerging as a serious actor to reckon with.

As it is, the film gives the audience an inside look into the making of a movie from script treatment to production meetings and on to initial and final, if, hilarious casting.

The regular rounds of laughter the film elicited from the audience is proof enough that the latest Eugene Domingo starrer is headed for citation as Comedy of the Year. The writing is taut and riveting, the ensemble (with Cipriano, Cortez, Ramos with Torre and Rosales) delivers with aplomb.

Ang Babae Sa Septic Tank Part 2 ends with a jolting Joel Torre epilogue. One way or the other, it sums up the cineaste’s frustration and unwittingly reveals the real state of the movie industry from the profound to the banal and the inane.

The film triumphs as first-rate entertainment and yet it also succeeds in showing why good films shine and why some blockbuster films suck.

Indeed, you get a good dose of laughter from this film and at the same time, you leave the theater with a cleansing thought that maybe it’s time audiences evolve and be an equal partner in doing films we can all be proud of.

(Ang Babae Sa Septic Tank Part 2 opens on Dec. 25.)