A fast food restaurant opens and in the semi-private secrecy of the shop’s locker room, Jade Castro’s "Endo" begins to give us a glimpse into the life of a contractual worker. The plot, in its stark simplicity, ushers us into the life of Leo (Jason Abalos), a perennially casual worker as he trudges through his life of uncertainty. In the tediuos cycle of working and looking for work, Leo’s character is revealed. His uncommitted work situation is a reflection of his capricious relationships with Candy and Tanya (Ina Feleo), symptoms of his fickle affections. Despite his spasmodic love-life, Leo nonetheless refuses to move on, holding-on tightly to defective souvenirs form his ex’s.
Opposite Leo is Tanya, an uncompromising go-getter. Unlike Leo who lacks the fortitude even to dream, Tanya grabs opportunity by the neck and attempts to beat fate in her own game. She possesses a resolute drive to escape her labor samsara. Like the opposite poles of magnets the two cling to each other but like chromatic complements they also clash. From this tension the plot derives its understated drama delivered in equally understated but effective performances from the two leads. And in this subtle drama lies the movie’s subdued power. Although the plot contains some clichéd events, it veers away form weepy melodrama especially evident in the restraint shown in the confrontation scene between the couple. The laudable absence of mood enhancing, tear-jerking, heart-rending music keeps the spectator focused on the issue that divides the two characters. The triumph of sound reason and sacrifice also deserve praise as the two finally say their poignant but optimistic farewells. The movie ends with a suggestion of a commitment to a renewed hope in life and love cloaked by an open-ended resolution.
The moderate pace of the movie contributes well to creating a feeling of tediousness without actually causing boredom. The pace allows the spectator to approximate the monotonous cycle the characters find themselves in. This effect stems from the remarkably clean editing that stitches together the mostly beautifully composed and photographed scenes.
The movie, though, is not completely faultless in form and content. The bed-scenes, admittedly necessary for the plot and staged tastefully without resorting to fleshy revelations, are unnecessarily long. The movie also leaves with considerable ambiguity whether the cause of one of the main problems is the couples’ careless copulating or their indulging in an act reserved for the marital chamber. The movie’s slant seems to be for the euphemistic “responsible sex” on account of the flagrant add-placement of a contraceptive brand, an advertising ploy that deserves a stern slap on the wrist with a bamboo stick. The movie suggests that the problem could have been avoided if they used latex. Lastly, the unethical utilitarianism of one of the secondary characters also poses a grave problem.
On the whole, the movie is well- worth the time I spent watching it. It is a refreshingly welcome break form over-acted melodrama that pervades mainstream Philippine cinema and even television. The unpretentious artistry of the filmmakers reaches out to the audience without condescension. The complexity of the issues tackled by the movie and some problematic content, unless processed under the guidance of a clear-minded mentor, limits it's audience to intellectually mature individuals.
Opposite Leo is Tanya, an uncompromising go-getter. Unlike Leo who lacks the fortitude even to dream, Tanya grabs opportunity by the neck and attempts to beat fate in her own game. She possesses a resolute drive to escape her labor samsara. Like the opposite poles of magnets the two cling to each other but like chromatic complements they also clash. From this tension the plot derives its understated drama delivered in equally understated but effective performances from the two leads. And in this subtle drama lies the movie’s subdued power. Although the plot contains some clichéd events, it veers away form weepy melodrama especially evident in the restraint shown in the confrontation scene between the couple. The laudable absence of mood enhancing, tear-jerking, heart-rending music keeps the spectator focused on the issue that divides the two characters. The triumph of sound reason and sacrifice also deserve praise as the two finally say their poignant but optimistic farewells. The movie ends with a suggestion of a commitment to a renewed hope in life and love cloaked by an open-ended resolution.
The moderate pace of the movie contributes well to creating a feeling of tediousness without actually causing boredom. The pace allows the spectator to approximate the monotonous cycle the characters find themselves in. This effect stems from the remarkably clean editing that stitches together the mostly beautifully composed and photographed scenes.
The movie, though, is not completely faultless in form and content. The bed-scenes, admittedly necessary for the plot and staged tastefully without resorting to fleshy revelations, are unnecessarily long. The movie also leaves with considerable ambiguity whether the cause of one of the main problems is the couples’ careless copulating or their indulging in an act reserved for the marital chamber. The movie’s slant seems to be for the euphemistic “responsible sex” on account of the flagrant add-placement of a contraceptive brand, an advertising ploy that deserves a stern slap on the wrist with a bamboo stick. The movie suggests that the problem could have been avoided if they used latex. Lastly, the unethical utilitarianism of one of the secondary characters also poses a grave problem.
On the whole, the movie is well- worth the time I spent watching it. It is a refreshingly welcome break form over-acted melodrama that pervades mainstream Philippine cinema and even television. The unpretentious artistry of the filmmakers reaches out to the audience without condescension. The complexity of the issues tackled by the movie and some problematic content, unless processed under the guidance of a clear-minded mentor, limits it's audience to intellectually mature individuals.
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