Kinatay

In Kinatay we go from everyday chaotic, but joyful everyday life and take a trip deep into its mafia controlled cynical underbelly. It is disgusting and sobering, but realistically depicted and therefore has a potential to shock people into disgust. The hope then is that this disgust can inspire a change in attitudes and ultimately fight this mafia instead of feeding it. That's far-fetched though.

The movie in itself makes you feel like part of the action with hand-held cameras instead of cinematic abstractions. This is its strong point as well as what takes away some of the tension too. Some sections are just too long and dwelling. Supposedly the actions, reactions and (lack of them) can this way play around in our mind so that we build tension inside ourselves, but I ended up getting bored at times.

A police academy student trying to make enough money to marry his girlfriend takes a lucrative job.It turns out that he actually joined a gang of criminals.During one night the gang abducts,rapes and kills a woman,cuts her body into pieces and throws dismembered remains in various places out of the car."Kinatay" aka "Butchered" is an ugly and disturbing horror drama with truly repulsive characters.This is an unflinching representation of the rape,murder and dismemberment of a prostitute in the Philippines that made Roger Ebert angry.Famous critic hated "Kinatay" with passion.Fortunately I found this film strangely hypnotic and very disturbing.The violence is not terribly graphic,but there is a suffocating aura of utter depravity and evil.9 out of 10.

Most of the scenes are incoherent. The main plot is the brutality done to the girl, that's it, movie concluded. Just wasted my time watching this crap.

After reading reviews of Kinatay, I decided to watch the film, but it was so rare I can't find it in the internet. Luckily, I found it in a CD shop in a mall and bought it.

The first scenes had a feeling of ordinary life in the shanties of urban Philippines, displaying the bouncy/cheerful personality of Filipinos. However, the ordinary setting takes an abrupt turn upon the start of the mid-section of the movie, where the dark ambiance begin to ooze.

The actors, as aided by unconventional found-footage style camera angles, really did well in making the scenes appear so natural, so as to make the viewer really believe he is an invisible spectator on the actual site. The eerie background music was minimal and effectively placed in scenes that actually require it, enhancing the psychological effect on the viewer.

The flow doesn't hurry in switching scenes. It maintains a slow pace, even until the ending, which is so unconventional but effective. At the end, it leaves the viewer "hanging" because its ending can only offer implications.

What makes the movie really stand out is the sheer natural attitude the characters portray for an extremely brutal and insane act, as viewed by a direct witness. As an indie film, it is not expected to have a spectacular production value, so there would be scenes that are so dark and silent (or both at the same time), and others used to commercial movies might find it boring and lame. If you want something dark and psychologically affecting because it shows how "natural" a grisly act is, then this film should be in your list.

If there's one thing about widely marketed Filipino movies which should improve dramatically, it's sound--I absolutely loathe the annoying synthesized staple background music being forced upon us each time the characters are set to spew their spit with their loud, hammy dialogues, or whenever someone is about to cry. That's why I applaud local indie films which at least feature original scores or unusual songs to give better local color to the story. Some experimental films by some of the innovative, unpopular directors even skip background music in order to give a sense of realism to their films. And what a relief--here comes Brillante Mendoza's "Kinatay"--which I believe outscores--pun intended--every Filipino film for its masterful exploration of sound and its effect on people.

"Kinatay"--before it won the Best Director Award in the most prestigious film festival in the world--was butchered by various international critics when the film was screened in Cannes. They blamed the unsteady video and the lack of light in about half of the entire film. Even the famous critic Roger Ebert dismissed "Kinatay" as the worst film ever screened in Cannes, even going as far as saying that he wanted to apologize to Vince Gallo for saying the same remark about his "The Brown Bunny." (I had the misfortune of seeing Gallo's film and I thought that Ebert should not retract his statement about Gallo's horrible, conceited trash.)

Movie watching for me has always been both a visual and an auditory experience. Often, movie makers tend to focus on the story or the actors or even special effects. But few directors actually bother to heighten music or sound as the most important aspect in a film. Quentin Tarantino, who's notorious for his wild taste in music in his films, is one of the directors who, I believe, highlights sound in his work. In his "Kill Bill Vol.2", one of the crucial scenes is when The Bride gets buried alive and the video of the movie is slowly diminished by the sight of dirt covering the entire screen. For a few seconds, we hear nothing but the sound of gasping, whimpering, and crying from the protagonist as her villains make loud noises with their shovels digging and throwing dirt to the screen. Experiencing this in a theater gives the audience a claustrophobic environment where we empathize with the experience of struggling of the character.

This sadistic manipulation of sound, for me, is crucial to understand "Kinatay." Mendoza wanted to make the audience fear more for the victim by making them see less details and hear more. By making the cries of Madonna nonstop and interspersing with the curses of the police officers, the audience feels equally threatened, abused, and angered. The background music reinforces the atmosphere of terror as it sounds like a masterful and unique score of a thriller or horror film.

I actually think it's pretty obvious that since the visuals are intentionally dark and shaky, the director wanted the audience to hear the movie out instead. Unfortunately, many viewers (critics included) are already blinded by digital spectacles. How ordinary it is for modern viewers nowadays to see a film just because the movie has good visual effects. There are only a few people who after watching a film goes out to say that the film has superb score or background music.

The striking quality of the sound of "Kinatay" is definitely its profound sense of realism. We hear the sounds of the city during the first thirty minutes of the film, and for people who live in Manila, it feels like home--with all the deafening noise of the vehicles, shouts of the vendors, gossips of the housewives, screams of street basketball players, music from TV, cellphones, radios, and even noises from animals. But as night falls, the absence of noise becomes more threatening. A simple curse in the middle of the night already gives us the creeps--what more if the curses and screams are confined in a compact vehicle, a remote house in the province?

The loudest sound in the movie comes from the facial expressions of Peping. In his silence, we hear the terrifying outburst of guilt, of helplessness, and of fear. With Peping, we become passive witnesses to crime and become deaf to the cries of the victim. We know exactly who are the dregs of society and yet we do nothing because we know that we are powerless because these villains are some of the most powerful people in the society. And sad to say, the message of Brillante Mendoza has to be heard loud and clear: this is what our reality sounds like today.