SARI-SARING SINENG PINOY

     Negrense food is an integral part of Under a Piaya Moon (Puregold Cinepanalo Film Festival, Bakunawa Films, Green Pelican Studios, Jungle Room Creatives, Cloudy Duck, 2024) almost like the main character itself. This is evident not only in the storytelling, mainly centered around the meals and the inner-city pastry competition, but also in the very shots of the film. Food is the protagonist, with a lot of close-ups of Stephen (Jeff Moses) cooking and the camera following the food as it goes through all the necessary steps of the preparation. The camera hardly ever stands still: particularly in the scenes where food is filmed, the camera is always tracking to follow the subject matter, making the whole film a lot more dynamic and interesting. The camera movements make us feel like we are part of the scenes, like we are also standing in the kitchen and about to taste the food. The film is also excellent in portraying the atmosphere of Bacolod City during the 1980's, as every element of the production design creates the period allowing the audience to be transported back in time and space, to another epoch. Foodies will devour every second on screen of this delectable ode to the love of the culinary arts but love takes on a different capacity here as the culinary wizardry becomes quite literally, a love language. It’s quite astonishing to see Lolo Poldo (Joel Torre) and Lola Fina (Chart Motus) move around the kitchen, elegantly industrious with the camera moving freely between them, over their shoulders and by their hands, it is a beautiful show of culinary dressage. There’s not a hint of traditional plot until about twenty minutes into this genteel but impassioned romance and that challenge is already set for the viewer. Under the assured and patient direction of Kurt Soberano, Under a Piaya Moon is a captivating celebration of Negrense cuisine. While the formidable lead easily win us over, the true star is the food. Every step involved— from selecting the ingredients and cooking everything perfectly to the grand presentation, the ultimate savoring of flavors is cherished. Under a Piaya Moon is truly a feast as the camera moves nimbly through the kitchen, capturing all the work that goes into each delectable dessert. We get to hear each slice, sizzle and splash while enjoying the stunning array being lovingly prepared and eaten with gusto. 

     There is an enthusiasm for the culinary and a delicacy to how these delicacies are filmed with long takes moving back and forth. However, what stands out is Soberano presenting the sensation of cooking and food as a force to communicate something. The nearly imperceptible movement of time is also crucial to the film. Soberano takes an almost Miyazakian approach to pacing and plot by having characters sit in mundane moments and gliding over excess backstory. We watch pastries being carried from the kitchen and served with care. The performances are remarkable. Motus is perfectly cast as Lola Fina, exuding radiance and tragic emotions in her moments of frailty. These moments aren’t common occurrences and doesn’t last very long but when she hurts it is so impactful that when she gets back to herself, one can’t help but anticipate a time when the weakness triumphs over her for good. Torre's Lolo Leopoldo is befitting of a life partner. There is admiration and a transparency to his emotions that lead one to believe this relationship’s had time to evolve which, it has. Torre and Motus can spur endless moments and emotions just by looking at each other. While the food preparation may seem complicated and time-pressed, the overall mood in the kitchen is harmonious. The would-be apprentice, Stephen is particularly impressive. The characters live in a tender, gauzy world; though it's not one without challenges and heartache, they nevertheless find in food a way to treat all ills, celebrate all milestones, understand all conflicts. In their world (and one I wouldn't mind visiting), well-made food—and the time and care it takes to create it—is not a chore or an indulgence. It is a sign of appreciation and respect, a way to acknowledge all that we are blessed with for sustenance. Here, gathering around food is a ritual, almost ceremonial inviting everyone to the table. Under a Piaya Moon relishes the beauty of natural light with sumptuous cinematography. The film’s idealized and romanticized light suffuses the screen with warmth and tenderness that suit the subjects wonderfully. Under a Piaya Moon is a delectable feature, a celebration of Bacolod gastronomy and its historic, culinary traditions. It is not just about the taste of food, but of love, beauty and human connection, offering a deeply gratifying viewing experience. 

Directed By: Kurt Soberano

Written By: Vicente Garcia Groyon

Director of Photography: Nathan Bringuer

Production Design: Jed Sicangco

Editor: Kurt Sobrano, Rodney Jarder Jr.

Sound Design Supervisor: Roem Ortiz

Original Musical Score: Paulo Almaden

 

     Misteryo sa Tuwa (Experimental Cinema of the Philippines, 1984) follows Ponsoy (Tony Santos, Sr.), Mesiong (Johnny Delgado) and Jamin (Ronnie Lazaro) as they stumble upon a suitcase in a wrecked plane – with the narrative detailing the myriad of complications that ensue after they decide to keep the money. Writer/director, Abbo Q. dela Cruz in his filmmaking debut, delivers a slow-moving yet mostly compelling drama that benefits substantially from its stellar performances, as Santos and Delgado deliver often captivating work that goes a long way towards cultivating a sporadically enthralling atmosphere. It’s clear, as well, that Lazaro is equally good as Jamin. Alicia Alonzo (Pinang) and Amable Quiambao (Ada) have big scenes that, in other hands, might have led to grandstanding. They perform them so directly and simply that we are moved almost to tears. The characters are rich, full and plausible. The direction and screenplay are meticulous in forming and building the characters, and placing them within a drama that also functions as a thriller. Mystery over the true identity of some characters, Lito Anzures’ villainous turn as Castro is all exaggerated verbal and physical tics. And two confrontations in the woods–one suspenseful, one heartbreaking. The materials of Misteryo sa Tuwa are not unfamiliar, but rarely is a film this skillful at drawing us, step by step, into the consequences of their actions. The inherently compelling subject matter is heightened by an ongoing emphasis on overtly captivating interludes and sequences, and there’s little doubt that Misteryo sa Tuwa eventually does become a far more tense experience than one might’ve initially anticipated (ie Dela Cruz transforms certain moments into almost unbearably suspenseful set pieces), focusing on more realistic violence--violence that has consequences. We're plunged intelligently and realistically into their small-town lives. When we're into the story, we willingly and easily go with them. Misteryo sa Tuwa faces its moral implications, instead of mocking them. We are not allowed to stand outside the story and feel superior to it; we are drawn along, step by step, as the characters make compromises that lead to unimaginable consequences.

     Presented in an aspect ratio of 1.85:1 and granted a 1080p transfer, Abbo Q. dela Cruz's Misteryo sa Tuwa arrives on digital HD courtesy of  ABS-CBN Film Restoration. There are some extremely light vertical lines that occasionally pop up. Tiny flecks can be spotted as well. Detail and image depth, however are very pleasing. Generally speaking, contrast levels also remain stable throughout the entire film. The blacks are well balanced and there is a good range of healthy whites and grays. There are no traces of problematic degraining corrections. Also, sharpening adjustments have not been performed. There are no serious compression issues, but I did notice some extremely light strobing during the last half of the film. Still, overall image stability is very good and the film has a very pleasing organic look. Kantana Post-Production Co., Ltd. have performed various contrast adjustments and noise corrections, as a result, certain scenes look smoother. Film grain also appears slightly better resolved. Damage marks and cuts occasionally pop up here and there. Lastly, there are no serious stability issues. Misteryo sa Tuwa looks slightly softer but tighter and definitely not contrasty. The LPCM 2.0 track is solid. The dialog is crisp, clean, stable and very easy to follow. Its dynamic amplitude is rather limited, but has very pleasing depth and fluidity. Clarity and depth are good,  there's very light background hiss that makes its presence felt. It is not distracting, but more sensitive viewers will obviously notice when it becomes more prominent. The overall dynamic intensity is quite limited, this should not be surprising considering the fact that it was produced in 1984. As straightforward in narrative as it is gut-wrenching in effect, Misteryo sa Tuwa is a movie you watch with a mounting sense of dread.

Sound: Ramon Reyes

Production Design: Don Escudero with Rodell Cruz

Cinematography: Rody Lacap

Music: Jaime Fabregas

Edited By: Jess Navarro

Written & Directed By: Abbo Q. dela Cruz