What really bothered me wasn’t just the violence. It’s how easily they slip back into normal life after like it’s nothing.

What really bothered me wasn’t just the violence. It’s how easily they slip back into normal life after like it’s nothing.

Caloocan mentioned but at what cost

Caloocan mentioned but at what cost

this is one of the more disturbing Filipino films you will ever see, perfectly captures the average life of the lower class, particularly, some that may even be involved in the much darker/corrupt side of it just for the sake of getting money through it's raw and "dirty" visuals, you can almost immerse yourself into it which makes it even more disturbing and creepy because it makes you feel eery and traumatized after watching it, overall, an eye-opening film that really shows you and makes you understand how fucked up some of us are living and going through in life

this is one of the more disturbing Filipino films you will ever see, perfectly captures the average life of the lower class, particularly, some that may even be involved in the much darker/corrupt side of it just for the sake of getting money through it's raw and "dirty" visuals, you can almost immerse yourself into it which makes it even more disturbing and creepy because it makes you feel eery and traumatized after watching it, overall, an eye-opening film that really shows you and makes you understand how fucked up some of us are living and going through in life

Masterful gritty pitch-perfect realism that's haunting to the core.

Brillante Mendoza exudes a masterful command of the film medium with Kinatay. Starting off with a mundane showing of a Filipino life in poverty made beautiful with insanely naturalistic performances and guerilla-like camera work, Mendoza keeps you invested in the ordinary life of a young couple, Peping and Cecile, in poverty.

Peping, a 20-year-old criminology student, juggling raising a son whilst continuing his studies in pursuit of a better life with his wife, Cecille. Through his personal connections and informal work for a criminal syndicate as a fee collector, Peping's journey into darkness and the depths of hell begins. A journey that Mendoza forcefully brings us into with Peping.

Mendoza's masterful command of the film medium is nothing short of amazing. With the gritty and guerilla-like camera work that frames both the mundane life of poverty and haunting darkness within Filipino society, Mendoza shows its disturbing contrast. With the first half of the film shrouded in the daylight of life, his work into transitioning the experience towards the darkness is both daunting and captivating.

The bold choice of bringing the viewer throughout the 20-minute van ride sequence from Manila to Bulacan is probably one of the most commanding change of tone I've seen from any film, simultaneously easing you in and pulling you down without warning—a 20-minute sequence filled with gritty anxiety, deafeningly silent (compared to the film's prior mood) tension-building, and character turmoil that had me at the edge of my seat and uneasy for what comes next, a journey that seemed like forever.

The darkness that ensues after that delivers. Hellbent on following Peping and his various attempts to comprehend and escape the situation, Mendoza keeps the camera glued next to him, as if we were experiencing all of the horror and his moral dilemmas right next to Peping. The same naturalistic performances and guerilla camera work now induces a constant feeling of claustrophobia, turmoil, and panic. Adding in the eerie and spine-tingling score, absolute hopelessness settles in.

The same naturalistic perfomances, now escalates the air of evil in the film as the syndicate crew operates unconcerned of the gravity of the evil being committed—all while Peping, and the viewer, comprehends the horror in shock, looking out of place amidst a group of calm and collected murderers. With this, Mendoza forces the dilemmas to both Peping and the viewer, what should I do?, what can I do?, can it be done?

Back to being shrouded in the daylight of life, mundanity settles back in. The same performances and camera work is now back to the mundane everyday happenings with Peping in Manila, as if hell hadn't just invaded the very same screen just minutes prior. A choice that perfectly encapsulates the uncomfortable regularity, or dare I say, mundanity of such horrific evil and the society that puts Peping in a situation to take part in such horrific evil.

Mendoza's direction here is something to behold, truly deserving of the Cannes Best Director praise. The way this film realistically, without distortion of any kind, creates the extreme mundane-by-day and horrific-by-night experience of Manila is both endearing and scarring.

Coco Martin's performance as Peping is no slouch either as he hits the notes perfectly to bring the experience of Mendoza's masterpiece home.

An absolutely technically astounding and pitch-perfect film elevated with masterful direction from Brillante Mendoza. So far the only film I absolutely adore but, ultimately, wish to unsee.

Masterful gritty pitch-perfect realism that's haunting to the core.

Brillante Mendoza exudes a masterful command of the film medium with Kinatay. Starting off with a mundane showing of a Filipino life in poverty made beautiful with insanely naturalistic performances and guerilla-like camera work, Mendoza keeps you invested in the ordinary life of a young couple, Peping and Cecile, in poverty.

Peping, a 20-year-old criminology student, juggling raising a son whilst continuing his studies in pursuit of a better life with his wife, Cecille. Through his personal connections and informal work for a criminal syndicate as a fee collector, Peping's journey into darkness and the depths of hell begins. A journey that Mendoza forcefully brings us into with Peping.

Mendoza's masterful command of the film medium is nothing short of amazing. With the gritty and guerilla-like camera work that frames both the mundane life of poverty and haunting darkness within Filipino society, Mendoza shows its disturbing contrast. With the first half of the film shrouded in the daylight of life, his work into transitioning the experience towards the darkness is both daunting and captivating.

The bold choice of bringing the viewer throughout the 20-minute van ride sequence from Manila to Bulacan is probably one of the most commanding change of tone I've seen from any film, simultaneously easing you in and pulling you down without warning—a 20-minute sequence filled with gritty anxiety, deafeningly silent (compared to the film's prior mood) tension-building, and character turmoil that had me at the edge of my seat and uneasy for what comes next, a journey that seemed like forever.

The darkness that ensues after that delivers. Hellbent on following Peping and his various attempts to comprehend and escape the situation, Mendoza keeps the camera glued next to him, as if we were experiencing all of the horror and his moral dilemmas right next to Peping. The same naturalistic performances and guerilla camera work now induces a constant feeling of claustrophobia, turmoil, and panic. Adding in the eerie and spine-tingling score, absolute hopelessness settles in.

The same naturalistic perfomances, now escalates the air of evil in the film as the syndicate crew operates unconcerned of the gravity of the evil being committed—all while Peping, and the viewer, comprehends the horror in shock, looking out of place amidst a group of calm and collected murderers. With this, Mendoza forces the dilemmas to both Peping and the viewer, what should I do?, what can I do?, can it be done?

Back to being shrouded in the daylight of life, mundanity settles back in. The same performances and camera work is now back to the mundane everyday happenings with Peping in Manila, as if hell hadn't just invaded the very same screen just minutes prior. A choice that perfectly encapsulates the uncomfortable regularity, or dare I say, mundanity of such horrific evil and the society that puts Peping in a situation to take part in such horrific evil.

Mendoza's direction here is something to behold, truly deserving of the Cannes Best Director praise. The way this film realistically, without distortion of any kind, creates the extreme mundane-by-day and horrific-by-night experience of Manila is both endearing and scarring.

Coco Martin's performance as Peping is no slouch either as he hits the notes perfectly to bring the experience of Mendoza's masterpiece home.

An absolutely technically astounding and pitch-perfect film elevated with masterful direction from Brillante Mendoza. So far the only film I absolutely adore but, ultimately, wish to unsee.

Roger Ebert once declared KINATAY as one of the worst films he’s ever seen. KINATAY has been on my watchlist for a few years now and I was absolutely elated to learn that it was brought to MUBI Malaysia. 

Personally, I view KINATAY as a film with two separate chapters — DAY and NIGHT. KINATAY DAY opens with a young Filipino family emerging from the home into the loud, crowded bustling cities. There is great craft in capturing both the frenetic and kinetic parts of this city. Our hearts warm up to two people in love, getting married in the local city hall. We learn the handsome young man is a policeman in the making; he’s in school and seems all around reliable. The chapter ends with a spectacular sunset in strong hues of orange and purple. Genuinely entertaining and heartwarming; general staples that are no different in world cinema. 

KINATAY NIGHT begins and we learn the young gentleman is indeed involved with a dubious group. Informal business vendors are harassed and the cityscape feels dark and neon-lit. A woman is brutally kidnapped, sexually assaulted and then mercilessly dismembered— the shock is hard to shake off; precisely because of the way Mendoza unveils this brutal violence. We learnt that these men are in fact cops, the motive for killing the woman is murky and weak. Our main hero does nothing but watch, squirm and then clean-up the murder. Frantically trying to hold his ground, despite his company of evil. Is he not complicit? Why is he not doing anything? We think the hero from KINATAY DAY seemed principled enough. He doesn’t. He’s handed some cash to buy powdered milk for his newborn. The viewer is still reeling from the earlier crime. 

It goes back to KINATAY DAY as the sun begins to come out but our protaganist is clearly no longer the same. He’s deeply unnerved. We cut to his new wife and young child in their small, makeshift kitchen. This is his reason for inaction. The film ends.  

Was the whole thing a deliberate exercise to shock? I can’t tell. KINATAY was very clear in its depection of Pinoy corruption, predatory sensationalist media and the price to exist; that in this system it can come at the cost of potentially many other lives. 

Pushed me and has left me unnerved.

Roger Ebert once declared KINATAY as one of the worst films he’s ever seen. KINATAY has been on my watchlist for a few years now and I was absolutely elated to learn that it was brought to MUBI Malaysia. 

Personally, I view KINATAY as a film with two separate chapters — DAY and NIGHT. KINATAY DAY opens with a young Filipino family emerging from the home into the loud, crowded bustling cities. There is great craft in capturing both the frenetic and kinetic parts of this city. Our hearts warm up to two people in love, getting married in the local city hall. We learn the handsome young man is a policeman in the making; he’s in school and seems all around reliable. The chapter ends with a spectacular sunset in strong hues of orange and purple. Genuinely entertaining and heartwarming; general staples that are no different in world cinema. 

KINATAY NIGHT begins and we learn the young gentleman is indeed involved with a dubious group. Informal business vendors are harassed and the cityscape feels dark and neon-lit. A woman is brutally kidnapped, sexually assaulted and then mercilessly dismembered— the shock is hard to shake off; precisely because of the way Mendoza unveils this brutal violence. We learnt that these men are in fact cops, the motive for killing the woman is murky and weak. Our main hero does nothing but watch, squirm and then clean-up the murder. Frantically trying to hold his ground, despite his company of evil. Is he not complicit? Why is he not doing anything? We think the hero from KINATAY DAY seemed principled enough. He doesn’t. He’s handed some cash to buy powdered milk for his newborn. The viewer is still reeling from the earlier crime. 

It goes back to KINATAY DAY as the sun begins to come out but our protaganist is clearly no longer the same. He’s deeply unnerved. We cut to his new wife and young child in their small, makeshift kitchen. This is his reason for inaction. The film ends.  

Was the whole thing a deliberate exercise to shock? I can’t tell. KINATAY was very clear in its depection of Pinoy corruption, predatory sensationalist media and the price to exist; that in this system it can come at the cost of potentially many other lives. 

Pushed me and has left me unnerved.