With barely any music, nor complicated camera movements, director and screenwriter Dustin Celestino deftly manages to build a suite of duets to weave a story of a country falling apart at the weight of its own history and corrupt systems. ‘Ang Duyan ng Magiting’ uses theatrical elements – articulate and eloquent dialogue, a set frame, impeccable blocking – to unfold a story about the cycle of hate and anger and fear. Despite its use of theatre conventions, the film remains cinematic because the proximity of the camera is part of the storytelling; the framing, the minimal use of cuts (if at all), and the vivid production design.
The movie revolves around a bombing of a church in a remote province and the two students who were found in the scene of the crime. Within the film’s two-hour running time, the movie manages to capture the people that surround the two students and this incident: a teacher (Jojit Lorenzo), who may be the cause of their radicalization to the extreme left; a social worker (Dolly De Leon), who questions the illegal detainment of the two students; the police chief (Paolo O’ Hara), who is so sure that the two teens are behind the bombing; the police chief’s wife (Frances Makil-Ignacio); a lawyer (Bituin Escalante), who takes interest in the case; the two students (Miggy Jimenez and Dylan Rey Talon); and the mother of one of the students (Agot Isidro).
The powerhouse cast deliver incredibly nuanced performances and play off of their scene partners with incredible precision. The camera is primarily still in most of the scenes and, at the most, the scene is always covered in only two angles. Sometimes its close, sometimes its far but the actors perform with the full ferocity that the scene requires. You cannot single out any one actor here – everyone was working at an elevated level. It was wonderful to watch.
But what made it even more entrancing was that the story unfolds through the dialogue and in the process, the world gets bigger and bigger with each line delivery. The conflicts become more pronounced with every word that is uttered and the camera, remaining still, captures and builds on this tension that it feels electric. Without any music, a scene just begins to expand. From Paolo O’ Hara’s rage to Dolly De Leon’s quiet strength, from Miggy Jimenez’s fragility to Bituin Escalante’s flippant amusement, each actor fill each scene with the intended emotion that reverberates within the camera’s frame.
It also helps the Celestino and production designer Josiah Hiponia dress every sequence in such a way that makes the shot feel cluttered, claustrophobic. Each scene is just ready to explode and even when it does, it still feels like it could just keep setting off.
And what is released is a whole bunch of ideas and emotions, there are questions that is asked about nationhood, about revolution, and whether it is lost cause or something that is still worth fighting for. What is great about the writing of ‘Duyan ng Magiting’ is that it is full of anger and hatred and grief and pain but it is also undirected, unfocused. So while the enemy is clear at times, it seems that all that rage is directed at each other instead of who it should be. The film is a rebuke of the system that is in place but it is also a rebuke of all the failed attempts to change that system.
‘Ang Duyan ng Magiting’ is a work of fiction that becomes an eloquent argument without any clear answers for us. The film will disturb you, it will grip you. The theater I was in was quiet all through-out the movie, you could hear a pin drop, and we were all holding our breaths. It’s visceral and smart and also very moving. It’s definitely a masterclass in building tension, in wrestling with its themes, and of excellent performances.
My Rating:
