Cavite

CAVITE is an example of ultimate independent film, with a very short budget, a very simple concept, an exotic locale, a minimal cast, and a hand-held camera.

The story is simple: Adam (Ian Gamazon) is called home to the Phillipines because of a family crisis. Instead of his family picking him up, he finds himself forced to follow instructions of a man claiming to have his family. There's no clear reason for the abduction, or what makes Adam a target; all Adam really knows is that his every move is watched, and the kidnappers have no regard for their victims.

As Adam follows the obscure instructions, and the obstacles in his way, the audience can't help but be caught up in his plight. The hand held camera and jumpy editing style enhances the sense of desperation and time. The scenes of urban Phillipines, particular the markets and the squatter holdings are a vivid cacophony.

Co-directors and Co-writers Neill Dela Llana and Ian Gamazon have done an outstanding job of making the most out of limited means. The economy of the film makes it both intimate and discomfiting, as Adam is an everyman who only wants his family safe and instead is completely at the whim of an omniscient tormentor.

CAVITE is an absolute must for anyone who has an interest in film, as storytelling, in it's structure, and as an art form.

Cavite, in its simplicity, is a provocative and insightful gem. This movie adeptly presents the complexities of culture and nationalism using parallels and metaphors interwoven in a culture few will encounter. The story's plot is simple enough- an Americanized Filipino American (Adam) whose life is in chaos returns to the Philippines to attend his fathers funeral, but instead, embarks on a horrific rescue mission to get his ransomed mother and sister back from the Abu Sayyaf, an extremist Muslim group. The violent tension in this movie is subtle and below the radar, but keeps the viewer watching. But it is the emotional tension- the play with expectations that breaks from being predictable; the killer who loves love songs, has a reassuring voice; Adam, the victim, is a non-violent Muslim; the grinding poverty and Adam's naivete; the kid who steals for the Abu Sayyaf steals to eat McDonalds. The backdrop of the plot is the forced education of Adam to a culture he has had no connections to. While for many Filipinos, this can be tedious, the depth of the movie begins to beg the question- who are the real hostages, and what will we do to save them.

That the movie has a circular plot- it ends where it begins but with a twist- leaves the viewer forced to contemplate the significance, which can be profound, "dangerous" as some have described, but open to interpretation. This can be troubling to some who want to see movies that require no thought.

Cinematically, the movie is remarkable, low budget or not. The shots are insightful and capture the reality of everyday life in a town greatly affected by poverty. One can almost smell the diesel fumes, the odors in the market and feel the tension of desperation. Because this is the personal story of Adam, a home-video feel to the footage adds to the credibility that this is his story.

Most mainstream thrillers have something in their plot that is implausible, and this one is no exception- the everpresent killer, and that there is a Filipino who doesn't know what balut is.

It is unfortunate the cover and sub-title imply Cavite is a Sylvester Stallone no-brainer which makes me wonder whether the brilliance of this movie was a result of the directors' intention. In any case, this movie is worth viewing for its creative display of a complex subject- but with a caveat- this movie presents a picture that is not characteristic of all life in the Philippines- something few viewers will take into account. This isn't the responsibility of the directors, however. It speaks to the fact that there are too few Filipino filmmakers.

Intense, and intensely low-budget, this action-suspense experimenter is one of the most effective student-like movies I've seen. Keeping true to their moniker (gorilla productions), rookie film-making team Neill Dela Llana and Ian Gamazon (also the star) show a surprising amount of skill in their hard-edged, guerrilla approach. The fast-paced thriller, also masking as edgy Philippino travelogue, traces the nervous steps Gamazon must undergo after being virtually hijacked by an unknown overseer. Playing out much in the same vein as many popular "momentum flicks" (Crank, Nick of Time etc), here these gifted newcomers instill a realism even they could not have hoped for at times.

Once thrust has been set into motion, Gamazon is shot in an alluring realism amidst the scenic decay of our title city. The technique will be a bit much for many viewers of more stable cinematography, coming across mostly as a Tony Scott with few dollars to spare. At times intrusive and overbearing, somehow the effect manages to end up complimenting this little project splendidly, working better then it should because the perfectly exploited locations and real crowds this amateur crew uses to perfection completely engage the viewer with the breakneck plot as it unfolds.

Not all is well however. We are all willing to suspend our disbelief in favor of embracing a well enough thought out piece of fiction, but the groundwork that makes for this immersed experience is not firm enough to sustain the realism it so graciously offers for the eye. Lead, and pretty much only, character Gamazon is also somewhat disappointing in the self-casting, really never breaking out of a self conscious projection and loosing himself inside the part. His puny presence could perhaps be another reason some would reject the movie, but of course those would be the action purists. Others interested in more experimental fare would do well to check out this little gem of a young team coming with a lot of adventurous film heart; the darkly appropriate political insight, as elementary as it is, becomes that much more affirmative once viewed in direct parallel to the reality of it all, making Cavite more then the frenzied action it showcases.

Despite being a low budget independent film, this movie is better than 80% of any commercial film made in the Philippines. Not saying much for the state of movie-making in the Philippines. I tried to watch this film knowing that it was an Indie. The whole picture is shot using hand-held video cameras. The product is a jumpy, nausea-inducing thrill ride. I honestly was sea sick halfway thru the movie. But at the same time I had to finish it because the story was actually pretty good. I thought the locations used in the film were very typical of Anytown, Philippines. Many of the comments left here seem to think that it was the film-maker's fault for having slum areas and open garbage dumps. It's funny how every Filipino hates to see these eyesores yet we do nothing about them. Particularly funny was the typical sign "Bawal Tumae Dito" (by order of mayor). We have all seen this sign one time or another, and somehow this is accepted. We need to be told what common sense should have already made known to us. The film has much more substance and direction than your typical Filipino movie, I would love to see more.

"Cavite" proves that if the story is good enough, technical excellence is unimportant. Filmed on video with a crew of two, and no budget whatsoever, Cavite is a gripping, roller coaster of a ride. Called to the Philippines, a completely Americanized, young Filipino-American discovers that his mother and sister have been kidnapped. A cellphone planted in his backpack rings and he learns they are held by terrorists and he must follow every direction he is given or they will be killed. Guided by the terrorist's voice on a cellphone, what follows is a tense voyage through the underbelly of Cavite, a city in the Philippines. Although this is at its soul a thriller, by focusing on stark images of third-world poverty, the film cleverly illustrates why terrorist acts have appeal for many. Like all classic thrillers the stakes get higher and higher and the tension grows as the story moves on to its inevitable climax. Although some critics have indicated that they thought the lead actor was lacking in ability I found exactly the opposite -- he is the perfect "everyman," trapped in a situation not of his making. This is great storytelling. I saw this movie twice and recommend it highly.