As real as it gets

I was invited to a special screening of Jeffrey Jeturian’s new film Kubrador recently; and it drove home the fact that the gap between independent and socially relevant filmmaking on one hand, and commercial and financial film viability on the other, is still a very wide one. The film was brought to the Moscow Film Festival last month, and won the International Critics’ Choice Award. For the producers, MLR Films, it is only recognition and an award that could help create a buzz for this film, and give it even the slimmest of outside chances of generating box-office success here in the Philippines. That much sobering reality direk Jeffrey was ready to admit.

Shot in mock-documentary style, Kubrador follows the life of Amy (played by Gina Pareño) as she goes about her day-to-day existence as a jueteng collector. The period of time covered are the days leading to All Saints’ Day, and November 1 itself. The desperation, the repetitive quality of this life at the bottom of the totem pole of illegal organized gambling here in our country, is what the film focuses on and it’s a searing indictment of the "quality of life" much of our countrymen have to endure and take for granted as their plight in life.

The cinematography maintains this feel of drabness, as while shot in color, there is a monochromatic quality that seems purposely utilized. The story and screenplay is by Ralston Jover, and he fervently mutes the dramatic content and domesticates the conflict, seeking to only put on display a life almost replete of drama. There are shafts of humor that create sparks, but they are done as asides or observations for all that transpires on a mundane level.

Amy is pious and religious – as are all those involved in the jueteng hierarchy – and the irony of this is not lost, as while devoutly praying, she ends with the hope that she’ll pass the day without getting caught by the police.

In terms of social realism, the film reminded me of the Brazilian film Pixote, which followed the life of one homeless child in Rio. Amy has a deceased son, named Eric, and he flits in and out of the film, his presence unseen but felt by Amy. I wish there was something more done with this. An element of magical realism could have been injected, making his presence in the film more functional. Instead, he is a mere spectre, and we leave the moviehouse wondering why they bothered having him there at all. Director Johnny Manahan makes a cameo as a local jueteng lord, and he actually comes off as a "nice lord," as opposed to the menacing stereotype we would have expected.

If I had to criticize the film, it would that there should have been more drama or conflict. There is the promise of that when Amy’s husband forgets to give her the bet of one neighbor, a bet whose number does come out and would have meant big winnings for this neighbor – but that potential is never realized as the issue just fades away. The ambiguous ending that has Amy involved in a shooting incident at the cemetery brings the film to a close that leaves much open-ended and unresolved. While doing a good job of mirroring her drab existence, Amy’s character fails to engage us effectively. While this may be indicative of the more cinema verite quality the filmmakers were after, this may also be the reason why audiences may shy away. We are left passive observers of Amy’s life.

I commend the intention and courage of direk Jeffrey and the producers to come up with the film, and I can only pray and hope success in Moscow will mean genuine interest in the film. While an audience weaned on art films and the like can appreciate a film of this nature, I have to agree with their own verdict of it not having much of a chance stirring interest with a mainstream audience.