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NILALANG (Viva Films, Welovepost, Haunted Tower Pictures, Parallax Studios and Black Ops)
Starring: Cesar Montano, Maria Ozawa, Meg Imperial
Written and Directed by Pedring Lopez
(Notice: Spoiler Alert)
Classy, Glossy But Lacking In Depth
by. Atty. Ferdinand Topacio
This is the intriguing (and quite promising) premise of “Nilalang,” and director Pedring Lopez strives and strives mightily to deliver thereon.
The opening credits with its accompanying montage is a work of art in itself, giving viewers a capsule summary of the bizarre underbelly of Japan’s kinbaku (or bondage) subculture, which unfortunately, will be totally lost on those not previously conversant with it. The film also starts with a bang: an atmospheric, stylized and convincing fight sequence set in ancient Japan involving two samurai warriors against their demon-possessed brother. It is evident that the filmmakers made great effort to painstakingly choreograph the fight scenes; this careful choreography and attention to detail can be seen throughout the film.
Cut to 2013 Manila. Tony Cuevas (Cesar Montano) leads an elite squad of the National Bureau of Investigation (NBI) in a raid to apprehend a Japanese serial killer who makes a disturbing habit of tying up women in typical Japanese bondage styles and carving them up. After catching the killer in flagrante with a victim in rope suspension, the killer resists and is killed. Case closed, so Cuevas and the NBI think.
Fast forward to the present. Killings with the same pattern begin to recur. The NBI is puzzled: is it a case of copycat killings, or some sort of religious ritual perpetrated by a different man. As they face one blank wall after another, an NBI agent (played by Cholo Barretto) begins to seriously think that something about the case belongs to the realm of the paranormal; Cuevas scoffs at him. But after a killing hits close to home, and after witnessing other inexplicable incidents, Cuevas in desperation turns to Miyuki (Maria Ozawa), a Japanese lady who owns a bondage club, for answers. As it turns out, Miyuki is the daughter of the keeper of the secrets of the ancient evil and Cuevas’ on-again-off-again lover. He learns of the antique book, the treacherous character of the evil spirit (who can possess those whom you trust and make them turn against you). When the demon claims Mizuki’s father and sister (Yam Concepcion) as its latest fatalities, Mizuki joins Cuevas and his NBI buddy Jane (Meg Imperial) in battling the malignant spirit and exact vengeance. But with the demon able to inhabit anyone, even those close to them, trusting one another becomes problematic. And will Cuevas be able to make the ultimate sacrifice to once and for all annihilate the evil that has transcended centuries?
“Nilalang” does not deserve its cellar-dwelling rating in the 2015 MMFF. It is very well-made, with atmospheric light-and-shadows photography giving the film the sense of dread that it needs as a supernatural thriller. The photography is nothing short of gorgeous, with the cinematographer showing Manila with an ethereal beauty that escapes those living in it. The action sequences are briskly-paced and tightly-edited, giving it a feeling of speed that engages the viewer. Ozawa acquits herself very well in her own fight scenes, and it is evident that she has prepared herself for the role by training in either kendo or jujitsu, judging from her moves. The shoot-them-ups are very well-staged, and the special effects – including the prostheses – are spectacular. Such is the attention to detail that, reading the closing credits, I was amazed to know that the producers even hired a rope bondage consultant just so the ropework and knots on the victims are authentically Japanese shibari. Over-all, as an action film, “Nilalang” would compare favorably with modern Hongkong or Chinese films, and would not embarrass itself even if shown internationally.
The most glaring shortcomings, however, come in the form of narrative and characterization. While as I have said, the premise is promising, and the film starts with a bang, a consistent story arc was not sustained, and in the end, the storytelling becomes vaguely-defined and scattered. The characters are also wanting in depth. Cuevas is portrayed as the quintessential movie hero – strong, intelligent, invincible in firearm and hand-to-hand combat, and sexually desirable – but the attempt to give him a back story to explain his own “demons” and what motivates him, falls flat. Imperial as Cuevas’ “sidekick” is shown to be carrying a torch for him, but aside from that, there is not much dimension to her role.
A sore thumb is Ozawa, eye candy to the max, but showing a total lack of acting ability. Even with lowered expectations – knowing her to be new to mainstream films – one will be disappointed. I’m talking about Sofia Coppola levels in “Godfather III.” And Aubrey Miles, in a short role as Cuevas’ estranged fiancée with whom he is trying to make amends, acts as if she were recuperating from dengue. The two lovely ladies prominently marred what would otherwise have been a highly competent movie.
Cesar Montano is his usual proficient self, displaying his acting chops in the few opportunities for doing so. But let’s face it: his role was not written to garner acting awards, and Buboy had very little to work with. That he was able to pull off his role with a certain degree of aplomb is an achievement in itself. The rest of the cast did justice to their roles, and complemented the protagonists well.
So, would I recommend “Nilalang”? Well, if you’re looking for impressive, well-directed and enjoyable local slambang action for the holidays, look no further. If you resolve to just enjoy yourself and not attempt to over-analyze it, “Nilalang” is a classy, glossy and – with the proper frame of mind -- ultimately pleasurable alternative to the dramatic and romantic festival offerings.
