In Bisaya, the second most spoken language in the Philippines after Tagalog, “Padayon” means “keep going, continue, move forward, do not give up, do not stop…”. It is common to hear the inhabitants of the Visayan Islands pronounce phrases in this language such as: "despite the difficulties, despite the difficult path, Padayon!". In Tagalog there is a term with a similar meaning: "patuloy".
Another way to express this determination is “dasig lang,” which is a much deeper Bisaya version of the phrase. "Laban lang" is the Tagalog version, which is also frequently used in the Visayas. All of these expressions essentially translate as "keep fighting".
Whichever phrase you choose, it sums up the spirit that moves 'Padayon', a miniseries written and directed in 2021 by Tyrone Lim Pasaylo, a Filipino accountant turned filmmaker, writer and director Founder of DILAT Productions, who has in this romantic drama of LGBT+ genre, his only film work to date.
Among the successes of 'Padayon', a low-budget Pinoy production is the profitability of the natural space, not as a mere casual vector of setting, or much less as a postcard background commissioned by the Philippine Ministry of Tourism. It is something that I do not point out in vain, since it is also done quite a bit; although in other types of work of lower quality and achievements, or self-respect.
This is not the case: Tyrone Lim Pasaylo's team (mainly himself as scriptwriter and director, in addition to the director of photography and Maria Andres as co-writer) has taken due note of the lessons of Filipino series in particular and Asian series in general, by turning the environment into a dramatic subject and a significant contributor to the ominous atmosphere of the material.
This story places its story in a beautiful rural area, whose exuberance, warm temperatures, impressive fields of plowing and harvesting crops, majestic rivers, and the photography of John Carlo Nova, brilliantly interrelates the plot through close frames, of excellent composition. Ocher or brown colors predominate to highlight the atmosphere of poverty and humility in rural Filipino communities. The exterior images are bright and clear, although with a predominance of the same colors.
Kai Andres (defended with great acting character by actor Ian Rosapapan, one of the best in the play), is a young man who aspires to graduate from university, but circumstances force him to delay his wishes to help his mother Karrisa Andres ( Marga Erasmo), in the cleaning, gardening and maintenance of a luxurious hacienda in the Philippine countryside.
It's a pleasure to rediscover Ian Rosapapan, whom we already admired in his brief but intense role as Kyle in the drama 'Why Love Why Season 2'.
The boy has a simple, but happy life. He helps his mother in the mansion, who works as the housekeeper of the old manor house, while helping to support his humble home, where his sister Kira (Harlene Mayor) also lives. He has a group of good friends, among which Drixler "Drix" Penamonte (Yoyen Bautista) stands out.
But everything changes when Andre Rodriguez (John Padilla, in his debut and only role in his acting career so far) suddenly arrives at the ranch, the young heir to the rural property branded as a playboy and with an impressive feeling that leaves with the The mouth pours water on more than one of the characters and spectators, who has been punished by his abusive father by sending him to the remote region.
This will be the start of a series that, despite always traveling on known plot ground, resists conventionality. The script bridges or relaxes, as appropriate, the complex process of discovery and self-acceptance, since both boys will fall in love despite starting their relationship on the wrong foot, since, unlike Kai, the newcomer is an arrogant and vain boy.
To do this, the series is based on a pillar like the character of Kai, whose load of kindness, camaraderie and good heart enriches the piece. Ian Rosapapan brings the charm, naivety and mischief that the role demands.
For his part, Andre's character learns from Kai honesty, humility, trusting others, asking for forgiveness, being grateful and loving.
Although there is curiosity about "the two boys who are suddenly friends and go to the river alone and spend time together", there is no sign of homophobia. After all, all the young people around Kai and Andre are queer characters and in one way or another they express their homosexuality or transsexuality.
The series also addresses, among other topics, family relationships and the family's acceptance of their son's homosexuality.
Also highlight the soundtrack, in which we will hear John Padilla performing the musical themes "Viaje" and "Himig NG Elehiya", composed by Lester V Flores, and also others, such as "Tanong sa Langit", by Paulo Zingapan, "Mahalaga ", performed by Rojene Ortega, and "Hinto", by Angelique Ferro.
'Padayon' is not very romantic, but it offers a pleasant and affectionate time, and the love story, which can give the sensation of being unbalanced, also works.
Among its main successes is that, without mincing words, the series points an accusing finger at some of the problems faced by the Filipino peasantry, such as difficult access to education, rural poverty that dates back to the country's colonial policies, the persecution of Filipino farmers who advocate for the fair implementation of the land reform program by the government, threats against their fundamental rights to land, life, housing, livelihoods and basic freedoms, the continued and systematic criminalization of rural peasant movements through the presentation of false charges by landowners, influential claimants and companies and their agents, among other problems that result in greater poverty and marginalization of peasant communities through physical displacement and economic towards a future of uncertainty.
On the other hand, it explores the complex problems of the transgender community, identity, gender discrimination, among others, such as personal improvement, desire to fight and work as ways to get ahead.
It hurts deeply that many subplots are left unexplained and unresolved: for example, the motivations for the murder of Kai's father are not explained. Are you dying for your commitment and participation in the social struggle for improvements in the working and living conditions of the Filipino peasantry? Are you a political and agrarian activist? None of this is clear. He could have been murdered for any other reason beyond political and social reasons.
Other subplots that remain open are that of Elaine Eugenio (Milen Alonde), Andre's ex-girlfriend, who arrives at the ranch to, in addition to trying to win back her boyfriend, serve as a spy for the co-star's father. And that of Drix, Kai's jealous and desperate friend for the future.
The six episodes are binged in one go. Its little more than 20 minutes pass quickly, due to the rhythm and the distribution of plateaus and dramatic climaxes. Now, what he successfully builds throughout those chapters, 'Padayon' destroys it in the epilogue.
In the sixth and last episode, a series that – by virtue of its nerve and craft – seemed to obtain a better conclusion, is not consistent with itself. For two reasons: the first: it is a shame that its low budget and the short time available for putting it on the screen has not allowed us to delve into the complex themes exposed in its premise, in fact, little addressed in Pinoy and BL dramas in general.
These outlined objectives, instead of being analyzed in depth, are presented in a way that is too didactic and explanatory, in the style of sermons, with the characters sitting around a bonfire or at their jobs in the field, expressing dispersed and diverse opinions to send messages social. The series talks about social struggles, but the characters spend the day working and having fun in the countryside and show no real interest in changing the economic and political-social situation of the country.
It would surely have been more far-reaching to have shown the viewer the problems faced by Filipino rural workers, on the one hand, and members of the LGBT+ community, especially homosexuals and transgenders, on the other, and their struggles to "move on". "Padayon!".
And the second cause: he then succumbs to a scammer, unintelligent closure. Logical, it is explained in the commercial intentions, in the clear (and reckless) desire for continuity in a second season. But that's not worth it. Today, three years and seven months after its premiere, we have no continuation or ending to this story.