Ulan

Ulan offers something fresh and original to the local industry. Weaving elements of magic realism, environmental consciousness, and the quest for a "perfect" love, Ulan brings to the table a beautifully-told spectacle that defies genres and challenges the viewers preconceptions on how stories should be told.

From a very young age, Lustre's character Maya has been exposed to and fascinated about idealized love - that love of her long-gone parents, her superstitious grandmother, the tikbalangs, of a childhood crush. As she grows older and meets (and re-meets) potential romantic partners, she grows weary and cynical about her chances of finding this love she once believed is meant for her. And therein lies the issue - growing up in a household and in a country where love is probably the central narrative, is there really any way real life can measure up to the stories that have captured our collective consciousness?

The film subverts the tropes common in the romance genre, and in doing so leads us to a conclusion that the choice to love and to find love can never be the happy endings in fairy tales and the gimmicky resolutions in rom-coms. Instead, helped by the lens of magic realism and the philosophy of a perpetually melancholic woman, we find that we are simply products of the values and stories that we grow up with; to truly love is to surrender to the forces we cannot control and to create meaning with those that we can.

Love, then, is coming to terms with the fact that disaster can strike anytime; it is also the steps we make to become resilient and reduce the risks associated with acts of nature, as bluntly pointed out by the anthropomorphic typhoon in the film. It is also the choice to not take what we have for granted; accepting the offer to finally eat some thrice-heated adobo with family. It may also be the acceptance and self-love that is often neglected, and forgiving your younger self for creating standards that are impossible to surpass. All this happens in the background of rain - drizzling, pouring, thrashing, sometimes soothing - that creates an atmosphere of familiarity and contentment.

Ulan is one film that should not be missed - it is a story that pushes the boundaries of romance, coming-of-age, and self-love, in a package that showcases the strength of current cinema and providing hope for a future generation that pays close attention to the stories they give importance to.

Ulan is not a romance movie. It is about love but it is against love. It is anti-romance. But it is romantic. It was grounded in truth and yet steeped in the supernatural that wound itself so intricately with the reality of the story. The film benefits from such a rich appreciation of magical realism which gave meaning to what otherwise would be a disorienting narrative flow. Magic and folklore are embedded in Maya's childhood, which I think speaks of a need to reconcile what is seemingly a conflicting reality with the stories we are told, and which to us, speaks just as much truth as anything science could explain.

Nadine has come out as a really strong actress this year capable of turning a character into someone you'd be drawn into. She has this strong yet subtle way of making the audience believe her without her having to over-act her message. It was my first time to see Carlo Aquino act and wow he was so memorable! That scene of Nadine and Carlo in that magical forest from Maya's childhood was so entrancing that you'd actually start feeling your own heartbeat. It was so magical and heart-breaking that it makes you feel alive. I actually watched the film twice because it was really a beautiful masterpiece having an original concept and impressive casting.

Bittersweet romance. Ulan shows, not just fantasies, but the reality of finding and losing love.

What I like most in the movie is the nostalgia it brings - the childhood that most Filipino kids have. It built Maya's character through the supertitious beliefs she was taught by her grandmother while growing up. The same beliefs she then held on as she went on with her life - her career and love life.

Maya (Nadine Lustre) is your typical protagonist, but in a good way. She is the girl who craves romance, who is fearless in seeking it, and is brave to accept and move on from the pain it brings. On the other hand, Peter's character (Carlo Aquino) left you with the hardest question to answer - choosing between the calling to serve and the woman you love.

Overall, the movie is pure passion, mystery, and art. The ending is tragic but nonetheless makes you want to fall or stay in love.

The movie was not what I expected it to be. I thought it would be a typical Filipino love story but to my surprise it turned out quite refreshing and entertaining.

It was somewhat disorienting at first for someone who is not a fan of such genre. Throughout the movie I often found myself confused as to the meaning behind the parts of the movie that incorporated fantasy. I was not really sure if the meaning behind those scenes should be taken literally or if one should see it as a kind of symbolism. Or perhaps both.

But that idea of not really being sure as to the meaning of the whole film actually was the refreshing part of the movie. For me, the movie gave the viewers a choice: take it as it is (that is from the view of a child's memories and perspective), or give a deeper meaning to it (that is from the view of an adult's experiences and struggles).