Darryl Yap treats love and loss with a disarming tenderness and a refusal of sentimentality that make his fifteenth feature, something of an anomaly among male identity flicks. Para Kang Papa Mo (Viva Films, Vincentiments, 2023) is about men and the male performances are terrific. In casting Mark Anthony Fernandez and Nikko Natividad, Yap not only chose two actors that actually look like they could be father and son but actors who fit into their roles with ease. Natividad is perfect, injecting Harry with subtlety abound, but it’s a deceptively restrained performance about a gradual development. Fernandez merrily falls into his role, capturing all the life apparent in this newly blissful way of living; fortunately, Yap never shows Fernandez as the absent father from Harry's childhood, allowing viewers to see him only as a new man. He brings Harry into his new life, giving him the chance to get to know and appreciate his father on a completely different level. Their relationship blossoms in ways that are emotionally authentic and satisfying. It's all about dropping their inhibitions to be sincere and silly with one another. Natividad and Fernandez say so much with their facial expressions and body language that the struggle and longing for human connection comes across loud and clear despite never being articulated. Ruby Ruiz gives a full-bodied performance as Tita Tita, a woman with her own issues but sweet and funny. She could have so easily been turned into a one-note role, but Ruiz brings her to life wondrously. The last component is Jao Mapa's Jose whose presence has many of the same qualities as Fernandez’s role, but with a particular charm.
We also get further insight into how Anton feels during these little scenes where Harry speaks in voiceover accompanied by a series of images on screen illustrating his point. Also, while most of the scenes are framed in a pretty yet straightforward way, the focal point, which in most films is usually somewhere on the side is quite often set dead-center resulting in a jolt to the senses. This is symbolic of the whole film, where the simplest things have the biggest impact. The story is triggered by illness and death, but in a simple turnaround, the film is not about these things. Instead, Yap uses Harry's death as a way to explore how Anton changes as a result of it—and not even the actual loss, as such, but in the recollection of lives lived with a purpose. There’s a warmth about Para Kang Papa Mo that you don’t feel in many films today. These are good characters, good people and Yap has made it easy to fall in love with them. Though the story involves a lot of highs and lows, going deep into grave material, the experience induces an instant smile that doesn’t fade for the duration perhaps because Harry and Anton try to remain outside of the commotion and therefore prevent the film’s mood from becoming severe. It’s never too much to bear, but also doesn’t let us get away without shedding a tear or having a few hearty laughs. That moment of sincere appreciation in the face of inevitable devastation is one that is repeated throughout the film. Para Kang Papa Mo is joyous in the places we're accustomed to misery. Yap has delivered a film whose idiosyncrasies are nothing short of charming and whose small story is eclipsed by its considerable heart.
Sound Design: Aian Louie Caro
Music By: Emerzon Texon
Editor: Vincent L. Asis
Editor: Arel Ebana
Production Designer: Gie Shock Jose
Written and Directed By: Darryl Yap
