Cavite

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.

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.

While I applaud the film makers for their effort and terrific use of the camera and very little funds, I can't say that I enjoyed this film a great deal. I feel bad saying anything negative about what is clearly such a labor of love, but the story didn't move me or involve me very much. Yes, it's a scrappy tale boldly told, but the tale itself was weak. All the other elements were fine, but if I'm not engaged by the story then I stop caring, and eventually lose interest, which is what happened when I saw this at the festival.

The acting is all fine, particularly the lead man and the voice on the phone (you'll know what I mean when you see it, it really is a lead role even though you never meet him) but there are so many wholes in the story that it never came together for me.

I look forward to these film makers next film, and hope they have a bigger budget, but mostly I urge them to find a better script.

Adam, a 32-year-old Filipino security guard from San Diego, must fly home to the Philippines after learning that his father is died. He lands at the Manila airport and waits for his mother to pick him up. She never does. He hears a ringing in his bag. It's a mysterious package with a ringing cell phone (think of The Matrix when Morpheus contacts Neo for the first time). Adam picks it up, and for the next hour, an Islamic extremist (who has kidnapped his mother and sister) threatens to kill Adam's family if he doesn't follow every single order he's given. Now that's suspense.

I love that Cavite truly takes you down the streets of the Philippines, where people drink soda from a plastic bag and bet on cockfights (reminds me a lot of Mexico). Everything about this film is original and surprising. The only problems were technical (and hardly worth mentioning). One problem was the discontinuity of the sweaty shirt. Adam wears the same shirt throughout the film, and the shirt is sweatier at some points than at others. The other problem was believing that two cell phones batteries could last an entire day. Adam is constantly on the phone with his family's kidnapper, and he only runs out of battery once? I don't buy it. But I bought everything else.

Equally as original as the plot of Cavite is the story about how this indie film found it's distribution. A U.T. class on advanced film producing promoted Cavite through the 2005 SXSW Film Festival and the 2005 Los Angeles Film Festival, and thanks to a deal with Mark Cuban's "Truly Indie" distribution initiative, Cavite is now showing at a theater near you, so check it out.

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.