Moving Narrative 2: Metro Manila

Metro Manila had three key things that made it work: The characters, the well-built tension, and the cinematography. This was definitely the most straight forward film we've seen so far, and I must confess it was very refreshing, but that certainly didn't take anything away from the movie. It shows you don't have to be overcomplicated or disjointed to put out an intelligent film.

The characters are immediately sympathetic. Their in a shitty situation and are forced to leave their home and try and start a new life in a strange city. It's a classic and very real story of poverty. There are films that can sometimes over play this card. When that happens its creates a gap between the audience and viewer. Here though, the film is smart enough to give the viewer occasional moments of relief and hope; this creates a stronger connection to characters as not only are we not constantly anxious as to what is happening, but most people can relate to hardship and moments of joy. The slow burn to the family - and most importantly - the fathers final actions are totally believable as we have seen everything the world has thrown at him, to the point where I found myself bur-grudgingly agreeing that the father had no choice but to do what he did.

Going back to the tension in the film, it constantly feels ever present. From the very start when we meet these characters and they travel to the city, there is this immediate feeling of dread. What is going to go wrong? This lends itself to the shots, as we first see the father and mother giving each other reassuring smiles, the camera purposely picks out shots of advertisements, people rushing past one another, large and imposing buildings, it gives a sense of alienation in a place they don't understand and likely don't belong. Many of the shots feel up close and personal with the characters. The camera is not afraid to get right up the characters faces, showing their emotional range. It feels claustrophobic at times and forces you to engage with what is in front of you. At other times, we get some range and gorgeous establishing shots that really set the tone for the scene. The cinematography and the tension (and occasional relief) go hand in hand through out the film.

Metro Manila does most everything right. Despite the poverty storyline being one that has been done a thousand times in cinema, the director has shown that with the right cast, cinematographer and direction, any story can feel as fresh as the first time you've seen it. It isn't about the story itself, it's about how you tell it.