‘Filipiñana’ Review: A Dark and Surreal Satire on the Philippines' Class Divide
In the scorching heat of the Philippines, 17-year-old Isabel (Jorrybell Agoto) finds herself in a job that mirrors the country's stark class divide. As a 'tee-girl' at a country club catering to wealthy businessmen and Chinese tourists, Isabel sits on a driving range all day, placing golf balls on tees for golfers who can't be bothered. This is just one of the bleakly absurd moments in writer-director Rafael Manuel's debut feature, 'Filipiñana', adapted from his award-winning short of the same name.
The film paints a grim picture of a nation where resources, both human and natural, are being exploited by a privileged few. Set on a golf course, it showcases a predominantly female staff serving and being harassed by wealthy male clients, who see no issue in taking advantage of them.
'Filipiñana'
The Bottom Line: Class warfare on the green.
Venue: Sundance Film Festival (World Cinema Dramatic Competition)
Cast: Jorrybell Agoto, Carmen Castellanos, Teroy Guzman, Carlitos Siguion-Reyna, Isabel Sicat, Nour Houshmand
Director, Screenwriter: Rafael Manuel
Duration: 1 hour 40 minutes
Despite its grim subject matter, Manuel's minimalist narrative has a darkly comic and visually inventive side, blending elements of Michael Haneke and David Lynch. The tee-girls, for instance, are synchronized to look like a Busby Berkeley musical number, crouching below golfers swinging their clubs in unison.
Other memorable scenes include guests dancing in step to an orchestra playing a traditional Filipino ballad, an impromptu karaoke performance by the club's eccentric owner, Dr. Palanca (Teroy Guzman), and a comparison of golf balls to an old man's testicles. Isabel and her colleagues, despite being treated like slaves, display a sharp sense of humor, maintaining dignity and a degree of fatalism in their work.
'Filipiñana' unfolds over a long, hot, and humid day, with little happening. It's not a thrilling or suspenseful watch, but rather a languid exploration of a golf course. Manuel's fixed camera work captures stunning compositions, but also moments of dramatic silence. The film builds into a scathing critique of inequality, highlighting how women like Isabel are condemned to work in an environment resembling a colonial plantation rather than a luxurious country club.
The plot follows Isabel as she learns the ropes of her job, including returning a lost golf club to the elusive Dr. Palanca. A few other characters appear, such as an American girl, Clara (Carmen Castellanos), who discusses the possibility of moving to the Philippines with her uncle. The class divide troubles her, as does her uncle's disregard for the exploitation he's now a part of.
Manuel's keen eye for visual discomfort is evident. A giant slice of strawberry cake, tempting yet disgusting, sits untouched before an indifferent club member. Meanwhile, Isabel and her tee-girl colleagues are fed meager rations of rice and fish in an overcrowded canteen.
'Filipiñana' has a 'White Lotus' vibe, but it's both subtler and more brazen. Unlike the HBO series, where the rich engage in deadly games while the poor tend to fare better, 'Filipiñana' offers no such salvation for Isabel and her coworkers. They can only steal moments in the shade, eating fallen mangoes, even if it might cost them their livelihoods.
Executive produced by Jia Zhang-ke, whose influence is seen in Manuel's artistic portrayal of a paradise rotten from within, 'Filipiñana' could have benefited from more story and less contemplation. However, some of its images are unforgettable, such as caddies searching a tropical forest for high society golf balls that have fallen into the rough.
