In 'Merika (Adrian Films, 1984), director, Gil M. Portes and screenwriters, Clodualdo del Mundo, Jr. and Jose Gil Quito did something quietly daring and very different. The framework is refreshingly simple, but it never feels claustrophobic or boring, or lacking of anything. Probably because Nora Aunor breathes life into the plot, channeling a kind of rare and subdued power. I commend the source material for providing Aunor with a backdrop to do incredible work. Because the character of Mila had room to be well-rounded and complex, Aunor was able to celebrate and expand her character's intelligence by way of an intelligent performance. To reiterate, Aunor does something smart with Mila. Something that aides the larger, holistic vision of the film. She imbues Mila with so much commanding subtlety, that the simplification becomes an advantage. 'Merika is a film that's obsessed with identity as most immigration narratives are, but if the titular character strips herself of belonging to any one place, we are certain that the woman standing before us belongs exactly where she is, on screen.
In my opinion, 'Merika lends much (most) of its success to Aunor. That's not to say it isn't a beautiful film, it's just a beautiful film that relies heavily on its lead to work, particularly because the story it aims to tell is so small in scope. Aunor's nuances, the way the whole narrative is refracted back at us through her movements and at times what feels like just her eyes, carries the film through all its own quiet uncertainties. You can see the wheels spinning, wheels of both deliberation trepidation in Aunor's eyes in particular, as she deals with losing things and gaining others (new friends, a career, a love story). It should be noted that Aunor's chemistry with everyone in the film is palpable and their performances are stunning as well. Still, I'd argue it's only because of Aunor that 'Merika never becomes compromised by its own confinement, but rather heightened because of it. Her powerful simplicity mirrors that of the film, as she steadily grows into something much larger and meaningful than the sum of its parts. It’s both rare and heartening to see a movie that grasps the poignancy of everyday life decisions, where to live, what job to take, who to partner with and how to press forward when every road promises something gained and something forever lost.
Sound Supervisor: Rolly Ruta
Edting: Edgardo "Boy" Vinarao
Cinematography: Ely Cruz
MusicL Willy Cruz
Screenplay: Clodualdo de Mundo Jr., Jose Gil Quito
Direction: Gil M. Portes
