Film Review - Pamahiin

On superstitions and folklore
By: Rianne Hill Soriano

Starring: Dennis Trillo, Marianne Rivera, Paolo Contis
Directed by: Rahyan Carlos

Pamahiin may not be as excellent as critically-acclaimed classics but this one surfaces itself from the roster of ultimately boring horror flicks by adding an effective twist to its story. Without much expectation on having a good story to play around with actually makes this movie a little more interesting and better appreciated by the viewers. There’s just one major weakness that makes this movie still a ‘coping copy’ in a number of aspects – having overused horror style and treatment. Good enough the story tries to keep itself up against its countless borrowed horror flick elements.

Belief in superstitions becomes the backbone of the scary premise of the movie. Noah (Dennis Trillo) returns to his provincial hometown after the untimely death of his childhood friend Damian (Paolo Contis). With his girlfriend Eileen who has an opened third eye, they become challenged by superstitious beliefs and lost souls passing their way. Meanwhile, Becca (Marian Rivera) shows up to Noah after mysteriously disappearing with her mother Belinda (Jaclyn Jose) after being accused of practicing some form of pagan worship.

The conflicts and issues in considering words of warning as the Filipinos’ ‘pamahiin’ is being rationalized in the presentation of the story. From the point that superstitions wouldn’t exist without any basis to the idea that superstitious beliefs could limit one’s life allows a creative flow of storytelling and suspense.

Though its set-up for horror is completely expected and overused for the genre, the story and script come up with a considerably good twist as compared to most trying hard horror copycats. And this is definitely something to look forward to as director Rahyan Carlos is a scriptwriter himself. Knowing him personally as I have worked with him as assistant director for one of his early independent works and as a workshopper for one of his group’s scriptwriting workshops way back five years ago, his passion has never seemed to stop. I would like to personally commend his efforts for this film. It is noticeable that he is still fond of using handheld shots for many scenes. In this case, it generally works.

Technically, the movie is not very impressive but it is quite better than other recent Pinoy films of its kind. The special effects courtesy of Ignite (also the one responsible for the commendable technical works for Exodus) are unconvincing. It could probably be the budget constraints that have stopped this movie from achieving technical excellence. The overall execution is not that consistent and solid. There is also a minor bothering transition, a swish pan as seen in a number of sequences including the scene of Eileen at the market to the next forest scene that seems to be an unfit kind of transition effect for the film’s mood. Nevertheless, some moments of terror still come to place through the scenes that have sincere cinematic and emotional involvements. The dubbing is fairly okay but some lines especially during the early funeral scenes are too theatrical and the treatment for them actually turns out corny. It is also overscored. There is too much music even with scenes that could have been more effective without it. At some point, the music ruins the emotional build up of the scene rather than backing it up. The sound mixing becomes a bit problematic as well particularly during the opening scene where the bass sounds too annoying. The scene where Eileen looks from the hole of the doorknob seems quite unconvincing as well because with the kind of doorknob used, it is not possible to see something from the other side.

The Korean and Japanese horror look is very transparent in the execution. And the familiar lines, drawings and writings on the floor and Belinda’s chants and rituals look a lot like the hoodoo ritual in ‘The Skeleton Key.’ It could have been way much better and more relating to the Filipino audience if it has maintained a more Pinoy treatment in par with the ‘pamahiin’ theme. Additional research about Filipino folklore could have made a more genuine base for the story.

The major cast is commendable. Iya Villania shines much of that terrified emotion for her role while Dennis Trillo’s character is vital and yet it doesn’t require much challenge and moment in acting. Fast-rising young actress Marian Rivera makes a good performance. So goes with Paolo Contis who successfully gets rid of his comedian image. The supporting characters who are veterans in the industry already serve their parts very well too. However, some of those in the minor roles have either lame acting or are actually overacting. The early funeral scene is filled with too much shouting, lip service and not so good acting from the minor characters as they all try to rub in all the ‘pamahiin’ they can say in the dialogues.

This film could have been better. But it is a good debut film for director Rahyan Carlos. It brings a message to cope up with issues on ‘pamahiin’ which is very much a part of Pinoy traditions and folklore. Though not as outstanding as great art-house films and classics, the story of this mainstream movie can at least keep up to the hundred bucks to pay for it.