Walang kawala

I try to be as democratic as possible by reviewing all Filipino films, even the ones that I am anxious to see. Walang Kawala (No Way Out) is a bit of a surprise. It is like a balloon that is rapidly inflated. One instance, it suddenly bursts in your face. Walang Kawala is a story made by Joel Lamangan in collaboration with Manny Valera and his screenwriter Enrique Ramos. It is Lamangan's first venture in independent film-making. Hopefully it is the start for mainstream directors to be roused from their periods of complacency.

With the return of Joaquin's (Polo Ravales) wife Cynthia (Althea Vega), Waldo (Joseph Bitangcol) suddenly feels jealous with the lack of attention he expects from Joaquin. To his dismay, he escapes the province in search for a better life in the city. Joaquin is saddened by the incident and he left his wife in search of Waldo. In the city, Joaquin was clued-up that a police officer named Rufo (Emilio Garcia) is spotted last with Waldo. An awful twist of events happens when Rufo abducts Joaquin and makes him his human sex slave to take pleasure from his craving of younger men.

Walang Kawala does not qualify to be criticized in terms of moral values. So critics must be flexible enough with the use of different tools and criteria for every film. Walang Kawala has qualities that are perfect for such objective evaluation. It is so evident that Lamangan has been in the industry for decades. He has done quite a number of mainstream films and has been a hundred percent behind some of the important films that the Philippines has. He is part of Ishmael Bernal's Himala and Lav Diaz' Hesus Rebolusyonaryo. Walang Kawala is no different from his other works' endeavor to be accessible to audiences. He imparts his skills in mainstream to independent film-making. It is quite easy to notice that Walang Kawala has ideas that might be very useful to sustain independent film works.

Non-linearity has been in the works for most filmmakers. Its usage consists of flashbacks within the story and yet it is still cohesive if and only if it is executed adroitly. It is quite good to see that the flashbacks in Walang Kawala are woven within the story with great skill. The progression of the story is quite overloaded with tension and melodrama which has been a guilty pleasure of most Filipino audiences. Spectators are like diners. They are drawn into more scrumptious dishes. Sadism has been an active element within the film. The sight of the brutality is quite gripping. Walang Kawala is effective with its aim of a definite sense of apprehension.

I was not surprised that the film got a tamer rating from the MTRCB than other films that recently got an X rating (Next Attraction, Imburnal, and Melancholia). I think it only needs common sense to persuade the board of their works. Evidently, our 'indie' artists today lack persuasiveness. They merely hate the entire system. As a result, their ego is inflated to such an extent that they consider their works as victims of uneven judgment. But how do we apply simple common sense in the defense of a film's unashamed nakedness. In gay bars, obviously you get to see naked male bodies with their schlongs out in the open. Lamangan has confidently made a film with much blatancy, he will never go wrong. He might have been just honest about it. Plus the fact that Lamangan is very good in dealing with the bureaucrats which other artists try to avoid.

Nothing is pretentious in Walang Kawala that is why it is surely well-regarded all on its own. It has incorporated a love story between two men. You might revolt on how they dealt with this kind of relationship but their characters have human dignity and respect for love. The crude depiction of life within the film's story is maneuvered confidently. It is evocative to a society that has tumbled down and its harshness will always be malodorous despite its good outer surface. Walang Kawala might not be the best film made in recent years. But how would we know in this period in time where we don't even know what is best? If the film doesn't stick to a certain narrative it is doomed to failure. If it tries to sugarcoat a simple story to attract more audiences, it will be quite repulsive to some. If a certain artist tries to be unpretentious, direct and integrates conventional film-making, will he be cast out? Lamangan certainly knows what he wants. He knows a lot about the process of film-making. Walang Kawala has a lot of good ideas that could be of better use in improving independent films. Independent films must strive for aiming a wider audience in order to survive (unless they're damned to self-indulgence). Lamangan might have done a few silly mainstream films, but I think he does not even care. He will certainly know better than any of us and I believe that Walang Kawala is better than any Mano Po Series he has done.

Rating: 3/5

"Walang Kawala," or 'No Escape' in English, is powerful and downbeat Filipino cinema; an unflinching look into the world of Human Traffiking and sexual slavery. This might be familiar ground, but "Walang Kawala" tells the story in a very unique way; a handsome guy leaves his small, beautiful village, and travels to the decadent city of Manila, a place known for prostitution and a popular destination for "sex tourism." The fact that Waldo leaves home because he feels rejected by the other man that he is in love with, makes this unique. Joaquim is meanwhile trapped in an unhappy marriage with his sexy, but overbearing wife. When his friend disappears, Joachim realizes that he loves his friend too, and travels to Manila in search of his missing lover. Joachim's journey becomes more disturbing and treacherous by the minute, as he traces his innocent and naive mate's path, which leads him to a strip club, and finally, to the door of one of the most evil characters ever portrayed in cinema. Rufo is a crooked, corrupt cop, who derives enjoyment from sadistically beating his wife, and savagely raping men at gunpoint. A very sad and tense tale of love and loss unfolds, as Joachim must endure the idea that his lover might have lived through the same torture. The film becomes quite brutal, and sadistic, and is probably not for all tastes. I was impressed that the film makers did not focus on the fact that the two main characters happened to be gay, as this is not at all a film about homosexuality. The love that the two

guys have for each other merely adds to the intensity and the urgency of this story. This is progressive film-making, and a very mature and intelligent film that somehow managed to avoid becoming mere exploitation. Tight editing and quick pacing make this one exciting cinema as well. This is probably a rare title, but there is a fine German DVD available, that offers the original Tagalog language with English subtitles. It is rated 18+ here in Germany, and the rating is certainly deserved.

Sometimes we think that we can do anything for love, but when it is not given back in the same way we are able to take desperate measures. That's the case of Waldo, who thought that Joaquin was going to stay with him, even after Joaquin's wife came back. In desperation Waldo disappeared from the village full of pain and angry He thought he was doing right, but he didn't knew. After Waldo's disappearance Joaquin decided to follow his track. Soon he discover with horror what the destiny had for both of them. Polo Ravales as Joaquin, delivers a solid and believable performance. His Joaquin goes for the streets, looking for his lost love. Joseph Bitangcol gave us an annoying demanding teen who push Joaquin to the limits to have him back. Emilio Garcia close the triangle representing the use and abuse as a manipulator cop. Love and desperation were well represented in the whole movie and were palpable. It is a good movie to see if you can handle it