FUN TALES OF THE DRUG TRADE Funnyman Napoles is seriously committed to the role of Carlo, effortless in his humorous depiction of a second-best surfer lured in by the “get rich quick” project.
It’s smart, playful and unpretentious — a fun and contemporary Aesop’s fable on greed
Kerwin Go is a new director to watch. His debut film, the crime-comedy Mina-Anud, which was Cinemalaya Film Festival’s closing film this year and is now in theaters, is a refreshingly jaunty take on a dark subject — drugs.
Perhaps there is no other treatment more suitable to this amusing true-to-life tale of cocaine washing up on the shores of a peaceful and clueless seaside community than comedy. And Go succeeds in making it funny and entertaining, without sacrificing the film’s important moral lessons.
Go’s first-hand witnessing of a 2009 drug-related incident in Eastern Samar led to the realization of this film. The story simmered in him for 10 years until it was finally made in partnership with HOOQ, Regal Films and Epic Media, with Stephen Lopez penning the screenplay. Ten years is a long time, but the story is still relevant today. In fact, just last month, in July, bricks of cocaine were found floating near a beach in Quezon province.
So, the film takes us to the quaint island of Mina-Anud, where blocks of cocaine in tightly sealed brown packages are deposited by the tide on the tranquil shores of the fishing and surfing village. Nobody knows what they are, including a local surfer, Carlo (Jerald Napoles), who asks for a brick from a fisherman saying he needs rat poison to eradicate the rats in his house.
This is where hilarity ensues. The provincial village is slowly awakened to the strange world of cocaine; what it is, its effects, and, most of all, the jaw-dropping wealth it brings. And the film whisks the audience away in Carlo and best friend Ding’s (Dennis Trillo) journey as they begin to peddle the recreational drug, buying from the barangay captain (Lou Veloso) to sell to American tourists and to smuggle to Manila.
Go utilizes the folks’ ignorance and greed for humor, and it works. His characters are simple-minded, but not evil — more like fools falling into the devil’s trap of easy, dirty money. And these fools are the stuff of comedy. But Go never makes fun of them, but actually cares for these characters who, without thinking, jump into the illegal trade for their needs: to start a livelihood, purchase a hearing aid for Grandma and at least get a taste of the good life — like a flat-screen TV, a swanky motorbike or a Rolex.
The film is effective in building the thrill of the discovery of cocaine and the addictive sight of wads of cash falling into the hands of the islanders, so that the audience, like the characters, are blinded by greed. And it also deftly builds tension so that the viewer is also stressed by the possibility of the fools getting caught.
Funnyman Napoles is seriously committed to the role of Carlo, effortless in his humorous depiction of a second-best surfer lured in by the “get rich quick” project. Watching him is a delight, as the actor is a master of comedic precision and nuances. Lou Veloso’s Cap also stands out for his combination of naiveté, corruption and greed. As Carlo and Ding’s supplier, Cap is hilarious when suppressing the excitement of receiving small amounts of cash compared to what the duo is earning.
Alvin Anson plays a PDEA officer and this is perhaps his best role to date; his presence is distressing. If the drug peddlers are funny, Anson’s role is consistently somber and dangerous, painting the very dark reality of the drug trade and police corruption. Anson, in a very naturalistic performance, never veers away from the seriousness of his role, with Go keeping him on track.
Matteo Guidicelli is also a delight in this film as a newly minted showbiz celebrity, a druggie luxuriating in debauchery when not endorsing a brand of corned beef with his buff body. Dennis Trillo, however, seems rather uncomfortable in a comedic role. His Ding is a little forced and inconsistent. The movie opens with him in a stilted Visayan accent, then as the film progresses, surrenders to his native Manila tongue. Nevertheless, the generally competent actor complements Napoles’ boisterous character.
Go’s style is clearly influenced by Hollywood; Mina-Anud feels more like a US TV show than a cinematic experience. Doing several freeze-frame shots throughout a film that is set in a tropical island, sprinkled with reggae music, it’s even mildly reminiscent of the spy-action TV series Burn
Notice. Nevertheless, it’s a new feel in Philippine cinema. It’s quick-paced, cohesive and detail-oriented. And it emotionally connects — even you would like to punch the irritating birthday party clown in the face. When the clown hits the ground, you literally experience satisfaction.
And that’s M i n a - An u d’s strength. It’s satisfying all throughout. Despite a few unnecessary frills to stretch the narrative, it’s a very good debut film — even better than most of the films in competition at the festival.
It’s smart, playful and unpretentious — a fun and contemporary Aesop’s fable on greed. Like the geese laying golden eggs, here the beach produces bricks of gold. And the film, without being preachy, challenges the audience to examine their own moral compass. It’s funny and enjoyable while still incisive in its social commentary and responsible in illustrating the fundamental consequences of breaking the law.
4 out of 5 stars
Mina-Anud opened on 21 August in cinemas nationwide
Go utilizes the folks’ ignorance and greed for humor, and it works. His characters are simpleminded, but not evil — more like fools falling into the devil’s trap of easy, dirty money. And these fools are the stuff of comedy.