For more than a decade, producers of LGBT+-themed films in Philippine independent cinema were just looking for an opportunity to earn income. Like it or not: sex sells. Much more so if two or more men are in the same bed.
Some veteran directors presenting their works at the Malaya Independent Film Festival, the Philippines' biggest film event, had their roots deep in mainstream cinema, and it turns out that bad (mainstream) habits die hard.
For that reason, the history of cinema of that nation ultimately produced some of the most inferior, self-oppressive and tasteless works, digging a deeper margin for the members of that human community and misleading the public about what their defenses really were in the face of a conservative, heteronormative and discriminatory society.
However, this sad cycle of Philippine filmography changed when director Joselito "Jay" Altarejos made 'Kasal' in 2014, and that year it won the Best Feature Film, Best Music and Best Cinematography Awards at the 10th Cinemalaya Festival, even surpassing the most requested 'Hustisya'.
The feature film immediately attracted the attention of the public and specialized critics, both local and international, as 'Kasal' broke with a previous scheme, planted deep within filmmakers interested only in their profits, by bringing a more realistic and identifiable representation of relationships between people of the same sex.
The film talks about how homosexual couples are situated in a society in which they are prohibited from marriage even though they may have a lifelong commitment.
I am not offering a spoiler here, since Altarejo took it upon himself to talk in every possible way about the content and premise of his film.
Paolo (Oliver Aquino), a film, commercial and video director, encourages his boyfriend Sherwin (Arnold Reyes), a renowned professional lawyer, both breadwinners for their respective families, to hold a wedding ceremony, but Sherwin refuses to accept Paolo's proposal because he knows that the marriage law in the Philippines is only for male and female couples and, as a law graduate, he must respect the law.
In the film, Sherwin, who values ​​the tradition in which he was raised since childhood, and Paolo, who has a more open family that is aware of his homosexuality, attend the wedding of Sherwin's younger sister in Batangas.
Sherwin wanting not to disappoint her parents, conservative and very devout of the Christian faith, if she admitted to them and the rest of her family about her relationship with a man, she prefers to hide her romantic relationship.
The filmmaker, recognized with several prestigious awards both in the Philippines and internationally for his innovative openly gay-themed films such as 'The Man in the Lighthouse', 'Antonio's Secret', 'Kambyo', 'The Game of Juan's Life', ' Pink Halo-Halo', 'Tale of the Lost Boys' and 'Unfriend', among others, films a feature film that explores secret issues surrounding the cries for equality of LGBT+ people in the Philippines and elsewhere in the world.
In this sense, 'Kasal' defends homosexual marriage and equality before the law on marriage between people of the same sex. But even maybe not just equality before the law but also proper understanding of the LGBT community.
In the face of discrimination, the film shows that human beings need an open-minded environment that does not degrade them as people and allows them to live equally and freely with the gender they prefer to embrace.
Even though homosexuals represent a group largely treated as a minority, the film is incredibly inclusive. It portrays the problems that lack of communication can cause in relationships (homosexual or not) and even touches on family conflicts.
'Kasal' is neither an all-out feast of flesh, nor a series of intolerable acts, but a presentation of silent oppression. It carefully presents a strong argument as to why the LGBT+ community in the Philippines and beyond continues to fight today, 10 years after its release, for the basic right to marriage equality.
The performances of its two protagonists stand out. Arnold Cruz Reyes and Oliver Aquino give strong performances of two lovers who are trapped in a circumstance from which they cannot escape. The chemistry between the leads is so genuine that you know the film is not just about gender. It is truly and simply about two people in love, struggling with the universal difficulties of love.
The film excels at offering audiences an intimate, rarely seen glimpse into the life together of two gay men, complete with the mundanity, incredibly detailed sex, and emotional nuances of almost every other romantic relationship.
The script written by Zig Madamba Dulay and Altarejos himself, not only delves into the complexities and challenges of being gay in a conservative society, but also delves into the struggles within a romantic relationship. Instead of distinguishing the unique difficulties of same-sex relationships, the film focuses on what makes them equal to others.
'The Commitment', as it is also known, stands out as a truly independent film, in terms of treatment. It seems like a relatively small production. Many of the scenes appear to be filmed in convenient locations, mostly indoors.
The tight cinematography takes us right into the characters' comfort zones, showing us what they are like at home, at work, with friends and with family. And with the explicit, prolonged, continuous, uncut softcore scene lasting probably at least 5 minutes, 'Kasal' is as intimate as it gets. But at the same time it raises a theme that has been present in world cinema for decades, while successfully describing how cultural and religious oppressions provoke the personal and emotional struggles of queer people.
In this very honest film, I am captured by two parallel scenes filmed behind a window, and in which I am suddenly relegated to the role of an outsider.
I am referring to the opening scene taken from the balcony of the condominium showing the interior of the room occupied by the two protagonists, and the scene with the lovers engaged in a heartbreaking fight on an empty street. In the latter, we can see the couple, but not hear them – as it is filmed from inside the car. These two scenes noticeably mark a distance between the characters and the camera.
But the most interesting thing, in my opinion, is that at the same time, from this distance, we can see the gap between the two lovers, no matter how intertwined they are. It is no longer the faces of the actors that speak to us, but the space of uncertainty that surrounds them and that threatens to open a gap between the two souls that painfully cling to each other.
These two scenes alone would be enough to demonstrate the professionalism in their craft, the natural and convincing acting skills of the lead actors, and the ordinariness of the settings make the film easy to identify with. The conversations also seem spontaneous. As in real life, it is in the slight changes in tone and sudden moments of silence that we see how easily we tend to sweep things under the rug and, at the same time, how difficult it is for us to forget.
The script and story are strong enough for the audience to empathize with the characters' feelings.
In short, 'Kasal' stands out for its technical aspects. The camera angles focus on the actors' expressions. The lighting is perfect in all locations and manages to highlight the necessary lights and shadows in each scenario.
The elements used in the staging are organically well prepared, especially when they filmed in the province. Meanwhile, the costumes and set design blend well, particularly with the traditional wedding celebration in Batangas.
The music by Richard Gonzalez and the sad and heartbreaking love song "Ikaw at Ako", by Johnoy Danao, fit perfectly with the emotion of the characters and the atmosphere of the dramatic part.
Inside my chest I felt Paolo's pain when his boyfriend Sherwin introduced him as his best friend. My heart was torn when I saw the ring that Paolo bought for the wedding with his lover thrown into the trash. This image symbolizes that the marriage between them will never take place.
But I also have mixed feelings, as I try to balance Paolo's position with Sherwin's situation, who is torn between his love for Paolo, his dedication to work, upholding the law, and his family's views on marriage. In this sense, it is also difficult for me to determine which one I should prioritize because both characters touch my soul deeply.