Again, a young Filipino director ... Adolfo Alix has indeed already made a number of films (16 according to Wikipedia, probably not all are listed, five of work in 2010, some of them apparently commissioned work within the industry without too much self-interest) knew, I now only its segment Manila, a fairly straight remake of Lino Brocka Jaguar, which I found at that time not so interesting. chassis but is a very, very beautiful film. In the quiet, unassuming black and white settings (the contrast between the pale glare of Tagszenen and blocks of black metal and dark skin into the illuminated night scenes), I felt at home immediately.
Alix 'film picks up on something more conventional, more conservative way, the aesthetic and narrative elements of neo-realism, as it does Mendoza. Far less is about the energetic evocation of individual situations, there is instead a subtle stylization the world of the film moves a bit in the distance. The script is simple, austere, straightforward, clearly interested in categories such as motivic coherence. But the writer characterizes logic is just not in every scene.
For as the Mendoza-films is also chassis from one place, not a story. Almost the entire film takes place on the pitch of a transport company. The place that brings the Filipino economy going, is also a precarious habitat. The families of truck drivers live on the premises, directly under the trucks, since then two, three square meters of cardboard on the floor, a hammock is stretched, lying beside a few clothes, a canister of water and more than two or three other things. The women defend themselves against their misery, and above all, try it - away from the body - in spite of prostitution as a additional income and extorted sex with the guards. The main character Nora (played by Jodi Sta. Maria, a professional actress whose most impassive face imparts to the film, almost like a stamp) deals with the schooling of their daughter, she tinkers her angel wings and hopes long, they send you on a trip to. Alix constructs the community in the parking lot to an organic way, not as an explication obvious oppositions such as poor / not so poor, male / female solidarity / mutual oppression.
When Nora has sex with her husband or a suitor, it represents only a small cardboard wall in front of a passage between two containers. When she first does, the camera is only before the passage when she visited. Then she picks up the paper and the man, the camera now moves ahead of them and they enable a close with the couple.
There is still a dramatic escalation, but which is really nothing more than that: a culmination of what was created in the first, quasi-documentary film half earlier, the update of a potential of (sexual) violence. There is nothing in this film, no subplot, no single setting that could not be tied back to the place from which the movie takes its output.
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