Asintado

Louie Ignacio’s foray from television soap opera to dramatic-thriller is a ramshackle fable, entitled Asintado, whose allusions to the tale of David and Goliath are by least admirable, but — with muddled execution and flimsy script-work — ultimately becomes a lost cause.

“Hindi ‘nay eh,” stammers Tonio, breathless. “Hindi natin s’ya kaya. Ang liit-liit natin ‘nay. Ang laki-laki nya!” It is a cry of how the mundane must battle the gargantuan. Julie (portrayed by Aiko Melendez) hushes her son to calm and right then and there vows him protection, no matter what, from drug-pushing, politician-entrepreneur Carias (a very dull Gabby Eigenmann). There must be a slingshot involved, too, being that it is inspired by the Goliath story, and there is! Yet, unlike in the tale that taught us the irrelevance of size, there is no sense at all of triumph in the inevitable fallout of the giant.

It can be for a number of reasons: for one, the film posits Tonio (played by Jake Vargas) — established top of his class and, of all, a pivotal character to the film — as a total incompetent whose naivete ushers him right towards a wall of fire. There is not much Vargas can do about this wrote-off caricature; there is not much he can do. Like Ignacio and his material, the young actor seems to buffer in transition from television to cinema. The soapy, melodramatic tone is explicit here — an awkward thing to ingest, a daunting task to the umpteenth power. It is not anyone’s fault, but the felonious misuse of artsy photography treads beyond acceptance and screams to make an otherwise case! Awash in earthen and dusty tones, Asintado essentially propels from one overlong reaction shot to the next, calling it a ‘narrative.’
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Do understand: Asintado is a film of negative caveats, and its singular commodity is also a caveat — its biggest, and only one positive. Aiko Melendez is a terrific thespian. One scene in the film’s closing confirms this: wearing a mask of mud, she looks up, eyes piercing through the screen, asking for San Juan’s forgiveness at her moral distress. It is a moment certainly worth to behold. Yet, this alone can only go a distance; it cannot be enough to elevate the muddled noontime-serye masquerading as indie-cinema.