Film Review: Batad Sa Paang Palay

Discovering ‘Batad’ in Cinemalaya
By: Rianne Hill Soriano

Batad, Sa Paang Palay
Filmaker: Benji Garcia and Vic Acedillo Jr.

Recognizing Filipino filmmaking and opening great opportunities for new filmmakers, Cinemalaya has truly made a major contribution for the uplifting of the Pinoy audience’s consciousness in local film appreciation. Struggling, surviving, thriving… It’s time for Pinoy filmmaking to rise from the depths of oblivion.

The feature film ‘Batad, Sa Paang Palay’ is one of the finalists for this year’s Cinemalaya. The film revolves around the life and struggle of a 14-year old Batad boy who longs to own a pair of rubbershoes and leave his Ifugao roots behind to chase his big dreams of modernization in the city. This feature from Benjie Garcia and Vic Acedillo Jr. puts interesting allegories and symbolisms and promotes a significant message on how the past and the present can make compromises. The complication presented in the story poses a number of issues to knock the inquisitive minds and thump the insightful hearts of the viewers.

The clash between tradition and modernization has long been a struggle for all. And this tale marks a certain level of sophistication in its presentation of the said subject matter through the eyes of the film’s main character Ag-ap (Alchris Galura).

The cinematic location of Batad and the rice terraces exude a certain mood and feel for the audience to absorb. It becomes ideal that the filmmakers have not become overwhelmed by the magnificent footages the terraces can offer, thus leading the story towards the right path.

The ensemble performance of the characters complements the beauty of the terraces. The actors and actresses both fresh and veteran have generally rendered very natural acting. However, Gina Alajar and Nonie Buencamino look quite unconvincing as Ag-ap’s parents. This is mainly the film’s weakness. It is not actually a question of performance but a question of far-off physical features among the supposed family members and natives. It could have at least been saved if the make-up and maybe some tanning lotion took some extra effort. The principal photography may have been a tough endeavor physically and financially for the production team, however, this is still not an excuse for seeking excellence for the already promising film as this is.

The execution of the film’s comic side, including the scenes where Ag-ap takes on all odd jobs imaginable just to earn enough money to buy his dream pair of shoes, promotes unpretentious comedy. The characters have been established well. Moreover, knowing that the most of the major and supporting actors and actresses are not really natives of Batad, their walking, running and jumping across the mountains and the steep rice terraces are really commendable.

The ethnic musical score is on right taste: minimal and seamless with the visuals. The sound is generally okay as well. The cinematography complements the story. It is true that shooting this film in 35mm (obviously with great additional expense and effort) may become an edge to immortalize it into celluloid but the utilizing of the digital medium has not failed the story. Its artistic and social integrity apparently yields to the spirit of independent expression for a better film experience both for the people behind the film and those who are watching it.

The film is inspiring, nurturing, stimulating and invigorating. Its concern for social awareness and responsibility tend to articulate the new Filipino film experience. And with the Cinemalaya trying to tap not just the artist circle as its audience but the Filipino audience as a whole, this film delivers another good Cinemalaya output ready to hit the theaters outside the CCP halls.

‘Batad, Sa Paang Palay’ is one fresh harvest for this generation’s cinematic experience. Indeed, the present time is a turning point in the long said to be dying Philippine film industry. Personally, filmmaking in the Philippines has two big problems to overcome: lack of finances and the people who still have the power and connections are stuck in the old school style of filmmaking and storytelling. The tough voyage towards the survival of this art form demands honesty, commitment and courage in order to uplift the Filipino identity and challenge the independent spirit. It’s time for the new Filipino filmmaking to rise. Let’s not stop its growth and embrace modernization and technological advancements to utilize the art form. Just like the issue raised in ‘Batad, Sa Paang Palay,’ we can move on with modernization without losing what the traditions have brought for us.