In these (more modern) times when just about everyone can afford to grab a DSLR (many of them high-end, too), a core lesson in photography is always stressed – and that is, one’s equipment does not make one a photographer, but having the “eye” does. This same lesson can be used in filmmaking, where it can be argued that having an “eye” (be it for the narrative, as well as the telling of that narrative) is more important than the (plain and simple) tech-savvy (that many boastful supposed filmmakers claim to have).
And this – having the “eye” – may be said of JE Tiglao in his short flick (for Cinemalaya 2013) Onang.
That it is beautifully shot is what stays with the viewers. In fact, many of the viewers (in the audience at the time I, too, watched the film) were enticed by a single shot used in the trailers: a long shot of the main character walking along a path on a hill that is covered with grasses dancing as the wind blew hard. Oooh’s and aaah’s could literally be heard, as well as: “What camera is the director using?”, “Crisp scenes”, “Nice shot”, and yes, “Wow!”.
So, yes, this film is beautifully shot – kudos needs to therefore be given to cinematographer Box Seblario, and the other people behind the short film, including associate director Dian Cantuba, production designer Abraham Caguioa, and editors Lazer Diaz and Benjamin Tolentino.
Fortunately, there is a somewhat strong narrative behind such a short film.
Written by Tiglao himself, Onang tells the story of a 12-year-old girl (Yssa Ramos) who lives with her widowed father, Tatang (Ronnie Lazaro) at the mountaintop in Ilocos Sur. She is about to reach her dreams of becoming a performer, but life is not about to just let her go.
Ramos is commendable for being natural – thank goodness there are no histrionics here, else we’d have another telenovela-like rubbish, and no beautiful shots could save it. Lazaro’s glaring and un-feeling Tatang is to-the-point – I’ve seen many of the likes of him in real life, and how he played the part was spot-on.
With subtlety, JE Tiglao was able to tell other sub-stories, too – e.g. the lure of the big city (and thus hope, even if it’s a false one), sexual awakening (and its cruelties), and the neglect of Filipinos in far-flung areas, among others. But no pushing of these issues here, so they do not overwhelm the film.
Despite the gloom that embraces the film’s telling, all in all, it’s the film’s beauteous takes that stay in the mind. So that, truly, even in pain there could be beauty.
There’s hope for filmmaking in the Philippines yet.
CAST: Yssa Ramos, Ronnie Lazaro
CREW: Writer, co-producer and director: Je Tiglao; Producer: Ju’an Sarong; Cinematography: Box Seblario; Associate director: Dian Cantuba; Production design: Abraham Caguioa; Costumes: Arriane Hadoypa Herez; Props: Kenneth Blanza; Casting: Caloy Rempillo Jr.; Musical scoring: Jett Sayno; Editors: Lazer Diaz and Benjamin Tolentino; Production Assistant: Michelle Azuelo
