GROUNDING FORCE

Posted by Jojo Devera ,


     It can be said that filmmaker Petersen Vargas came to A Very Good Girl (ABS-CBN Film Productions Inc., Star Cinema, 2023) with an impressive self-assuredness that could be mistaken for that of a much more seasoned director. The vision he had for the production design and the soundtrack are impeccable. It is perhaps one of the only uses of George Canseco's Kailangan Kita and Dito Ba? that packs an emotional punch. The movie presents aggressions to women; the dismissive attitudes against their thoughts, well-being, desires and the usual violence – whether physical, emotional or mental. Other than discreet and micro-actions of vengeance, Mercy/Philo (Kathryn Bernardo) is stuck with feelings of anger and revenge against Mother Molly (Dolly de Leon). Vargas exposes thoughts and attitudes in an excruciatingly identifiable way. That discretion and time will be enough to get over injustices. Whether Philo is exposing the environment in which she lives or suffering its consequences and the revenge that flows through her actions by deciding to right some wrongs and teach some lessons. However, the burden she carries is too heavy and considering the world we live in is destined to eternal frustration. In this sleek world Vargas has created, Bernardo's lead performance is a showstopper. While parts of the movie can feel too exaggerated or unrealistic, Bernardo is the grounding force. The anger simmering beneath her purposefully girlish looks is destructive, but the way she is able to make it ebb and flow depending on the scene is extraordinary drawing upon her near-peerless ability to express complex internalized turmoil on display in this sharp, strong and formidable portrayal. Bernardo's performance hammers home the dangers of that wrong notion in a manner that ensures it's more than just female empowerment fantasy. She scorches, sears and resounds with such burning truth. Bernardo carries A Very Good Girl and without it, the film would not work. 

     What De Leon does as Mother Molly is revolutionary and astounding. She is a master of disguise and offers multiple layers that make it difficult to distinguish her real character. Mother Molly can be cruel with matter-of-fact comments and snark mockeries with words that are never wrong and denunciations that are transparently right. She is calculating and accurate in her plans. De Leon embodies Mother Molly’s determination and disappointment with mastery. The film’s supporting cast offers solid performances, including Jake Ejercito's Charles. A Very Good Girl blends the tropes seen in previous revenge films that tackle past traumas in an authentic way. Vargas' direction is far above the level anyone could expect. He clearly knows that there is power in not showing something on the screen and one of the most poignant moments is Philo reacting to a piece of news. While it encaptures the anger and frustration, the film is enriched with light-hearted moments making it one of the most original entries of the year. A Very Good Girl cleverly subverts our expectations - lulling the viewer into a false sense of security before expertly pulling the rug out from beneath us. But then Vargas hits us with that absolute gut punch. While primarily a revenge thriller, there’s no catharsis here – this is a study of how grief can consume and define you. Philo's emotions cloud her judgement and revenge overwhelmed her, she’s the perfect imperfect female lead and isn’t it about time women had their own antihero figure? Beyond all the distractions leading up to its heart-stopping showdown, A Very Good Girl sizzles with ambition and poses as a searing commentary on how and why gender politics are changing over time. And, of course, it shows how cinema has continued to be a powerful outlet to expose those damaging traditions, even when turning-the-tables still comes at a high cost. 


Directed By: Petersen Vargas

Screenplay: Marionne Dominique Mancol, Jumbo A. Albano, Daniel S. Saniana

Director of Photography: Noel Teehankee, LPS

Production Designer: Cheska Salangsang

Editor: Benjamin Tolentino

Musical Director: Andrew Florentino

Sound Engineer Boom Suvagondha

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