Pool of Ponty by Pon

The (mis)use of language

Language proves to be an important part of everyday situations. The power of what we say, or thus what we opt not to, can make or break our relationships with people. Our choice of language can establish and more so maintain the relationships that we have with people. As such, it can be quite a horror, so to speak, when the words that we tend to use need not necessarily what we intend them to be. It is a horror that most of us tend to face, a kind of horror that the story of Pontypool tries to twist and made into an interesting storyline.

 

Media plays a huge roe in information dissemination, especially with the emergence of the different types of media. Grant, the main character in the story, is a radio personality. Interestingly, as the story progresses, Grant becomes a transmitter, not only of stories and information, but of a virus on the English language. It is transmitted to people, which then causes them to obtain a sickness and then eventually die.

 

Some may be quick to think that the storyline utilized by the film is not necessarily horror in their standards. Indeed, there is a constant question of what can be deemed as a high or low art, not just in horror, but for films in general. Although, to a certain extent, I agree that this film is rather shallow in nature when looked at from its facade, there is a deeper meaning that people may tend to overlook because of the seeming lack of depth.  First is the film’s use of language as the transmitter of the virus. As pointed out earlier, language has a great power in establishing relationships among people. However, it can also have a great power, when used imprudently, to break relationships and cause damages to people. Language, used effectively in discourse be used to convey messages clearly; however, when this advantage is undermined, problems may then tend to arise, as depicted by the rather grand metaphor of  death.

 

I suppose i had little appreciation for the film. While most utilitarians would consider language as a tool for deception or agreement, i have little reason to believe that a particular word can poison a person’s understanding and drive him or her insane. On the flipside, suppose one word actually enters a person’s mind and he/she attaches it to a particular traumatic experience or notion. Partly, Malcolm Gladwell mentions the lesson on priming, where continuous repetition can influence or condition a person’s principles. The issue of classical condition can make people more capable of doing things that they might have not been able to do beforehand, because of the external factors that would affect their ways of thinking and behaving.

 

The ending of Pontypool actually makes an amazing play on the virus itself. Considering that that the virus was already spread among the viewers, a noir-style dialogue ensues between Grant and Lisa. To brainwash the viewer, the pair’s plan to escape diverts the attention of the viewer from the issue that quarantine has failed. I suppose when the color has shifted into the screen, the virus has already dissipated, leaving one to finally understand the pool.

 

In truth, there is a struggle in finding the art in films. While some bank on the commercialism of films, in that they would rather go for a what-you-see-is-what-you-get type of a plot, some filmmakers take pride in creating films that have the capacity to make people think and reflect on their own lives. These films open the possibility of people looking at how they live their lives according to the metaphors used. It can be easy to see the adverse effects of misuse in language, but, it may not be easily evident that these can and will kill people. I think that, more than the selling the film, filmmakers have a greater task to sell their understanding of certain phenomena and situations that envelop human experiences. That is why, some Filipinos today, have found an appreciation for independent films. These films, were not intended to be sold commercially. Amidst low lighting and meager budget, indie films have stories that have long been waiting to unfold. More often than not, they contain a deeper sense of the reality that people in that country is facing, a rather cheap, in the literal sense, but definitely a type of high art.
Thinking about it, despite the seemingly peculiar storyline that Pontypool had, I now have a greater appreciation for the message that it was able to convey to me. It takes much of a movie to be able to convey a deep message in a facade that appears to be as is. There, now, is a call for films to exhibit such characteristic, without necessarily going for the genre of horror. The artistic nature of films have a high potentiality. It calls filmmakers from a well that’s rather deep and unnoticed. What’s left, therefore, is to see how this would impact and affect the industry positively, perhaps even drawing more profit to it.

Gingersnaps 2: Unleashed

Ginger Snaps 2: Unleashed

 

Wolves defining horror

There are different ways in understanding what gives horror films the edge may be different across different cultures and beliefs. When one would look at movies to watch in the cinema, for example, the genre of the film would reveal that it’s not only the genre horror but, more often than not, a mixture of different genres. What defines horror films of today? Do they have to be continuously redefined in order to encompass a wider range of audiences?

 

As opposed to human experiences that spirits still somewhat experience when they choose not to go through the tunnel with the bright white light, the experience of wolves is definitely a lot harder to grasp and understand, at least for me. There are aspects of reality that envelop the stories of these spirits, which make them more grounded on our own lives. As such, in one way or another, we are able to connect with the spirits, the sadness or the anger that they feel. However, I had a difficulty finding this connection, not just in watching this film, but other films that have people turn into an animal. Yes, we may psychologically or mentally turn into monsters, but I don’t think that people can morph into animals that are far from our original form, such as wolves. Before feeling a sense of fear or threat, I found myself raising an eyebrow, thinking about the possibility of these things happening. But I guess, in part, that is also, simply put, my take on genres like this. Each one his own, so they say.

 

Watching Ginger Snaps 2: Unleashed would honestly have been more interesting had we not watched the prequel in class. It became too repetitive for me, in that, it seemed like a rather forced sequel of the first to have an attempt in generating income. Through Ginger Snaps 2, horror would mean less of the paranormal occurrences that we have been accustomed to. This may be attributable to the fact that the paranormal no longer scares us. It no longer keeps us on our toes, unsure whether or not to remove our hands from our eyes to catch a glimpse of the film. It is rather normal, and avid moviegoers, especially horror film enthusiasts, can simply watch these paranormal shows on television. As such, they yearn for a new take on their awaited horror film experience. Filmmakers, as a result to this, try to give moviegoers the experience of gore and thrill that comes from the utter disgust that one may feel.

 

While I cannot take this effort against them, I am still one of those who believe that the collective notion of horror films involve those situations that are very much relatable to every one of us. In my opinion, nothing is more threatening and fearful than knowing that any of the scenes can happen to each and everyone of us, in the supposed comfort of our own homes, in the place that should have already been familiar to us. There’s nothing like the experience of coming home after watching a film, and then having to be more wary of your surroundings because you feel that what you had watched might just happened to you. That has always been the definition of horror to me, and I’m not quite sure of the number of people that I can speak on behalf of, but that will always be my understanding of horror. This is the reason why it was difficult for me to reconcile the idea of horror of Ginger Snaps 2, much so because I have already seen it in the first film. Perhaps, I was looking for something more, for something new that they can put to the plate and serve its hungry-for-horror target audience.

 

There is, then, this level of wondering about which type or genre of horror most ‘authentically’ defines the essence of horror films. In the pursuit to find meaning in the films, I begin to question how many people understand my construct of horror films. I could only think that the reason why filmmakers create sequels for their films is that they were, once upon a time, sellable to the audience. I began to then think about how many more times sequels have to be made before people get tired of these films. Or, have these films become the authentic definition of horror films, taking the majority vote and consequently leaving people like me out of the cinemas from where these films are shown? In the end I think that there should be no one definition of horror films. This goes even for me, who has thought that horror films equate to paranormal experiences, and conversely for people who think that horror equates to gore or morphing into different creatures. Horror films, like any other films, are understood differently by different types of people. Drama, for example, can be approached in various ways and still be considered drama. I think now that more than boxing the definition of the genre that encompasses horror films, there should be an open understanding of the reconciliation of the different meanings attached to horror. Through this, each one, despite varying preferences, would be able to enjoy the films that they watch.

 

Under Pressure

Too often, we underestimate the time left we have here on earth.

Of course we live at our own pace, trying our best to gleefully make each day count. When things change for the better, however, the notion of ‘taking our achievements to the afterlife’ resurface. Take for example the Terracotta figures of Qin Shi Huang. Since the emperor wanted to bring companions for protection, figurines were made to be left in the Mausoleum. Again, this kind of thinking is normal for most people who have accumulated wealth or simply curious about the next life. However some consider it taboo, dying and entering the afterlife can drastically affect the old, the dying, and the curious. The movie Martyrs, however, focuses on suffering as a means to rationalize the effect of the afterlife.

In the beginning scene, it could be seen that Lucie herself has escaped from the unending torture, liberating herself from the cyclical pain by shooting the family of her assailant. Even as the torturer surprisingly cheats death once, she pounces on her once again, driven by the animalistic desire for revenge. What is surprising, however, is that the specter of a woman continuous to haunt Lucie, considering that the latter left the former to be helplessly tortured in the abattoir.  Considering the effect of monstrous feminine, it would seem as if the creature wanted to free Lucie from the repeated torment by becoming a figment responsible for her self-infliction of pain. But again, it can be inferred that she has to leave with the guilt as well, after taking much of the suffering her mental state is also shaky. So she approaches the afterlife.

As the film progresses, it’s also contemplative to note that Anna discovers the cellar where another girl is held captive. Liberation aside, I cannot help but think that maybe Anna has discovered an afterlife which is not pleasant at all. Suppose she found a glimpse of the purgatory, where restless souls are silenced, tormented, screaming out to be saved from the depths of pain. Gabrielle, the girl, is then cleansed from the bath and immediately shot before she could even half another shot at a better life. This is where the plot takes a complete turn when a secret organization turns up and claims that they’re doing it for the greater good. Mademoiselle, the leader, claims that torture will bring about transcendence in the eyes of victims before they succumb to death. What is surprising here is that they chose Anna to be the next subject. Call it biblical if you must, but Anna has helped Sarah and Lucie towards a better life despite eventually dying a horrible death. This move has helped Anna to have reasonable leverage and strength to endure the succeeding torture and punishment which the two have already undertaken.

The most despicable scene, however, is the slow and brutal fading of the camera after every act. This slow, unending suffering, leaves the audience to cringe and absolutely abhor the pain, waiting for the scene to end. Of course, this mainly puts the viewer in a very uncomfortable situation when the final act comes into play. Anna is skinned alive, and whispers the million dollar words to the leader. Now this could potentially be a lie to deceive Mademoiselle to get even for Lucie and Sarah, or it could be the transcendence that the righteous will never reach. Then again, the plot ultimately dismantles me when the leader herself commits suicide to keep the information to her. Potentially, I could think this is Jesus Christ telling us to repent, and to keep guessing and to live for those around us; while trusting that suffering will end someday.

This last movie has literally brainwashed me. Maybe it’s true when they say “nothing haunts us like us the things we don’t say”, and I guess it’s in this own mental suffering that Mademoiselle committed suicide. If she wanted us to keep guessing, I suppose each one of us needs to find the answer if there really is an afterlife. To keep guessing, each one has to go through life, through endless trials and suffering that can drive people mad – to a point that our own figment “or creature” catches us, compelling us to hurt ourselves since we have failed to make our time count. The only takeaway from this movie I suppose I could share is life is short. Sure, there is endless suffering in our world now. Politics. Poverty. And more. But what makes us martyrs is we wake up every day, live our lives not knowing what the future holds – yet we still try. Kaya ka nga nagtataya diba? The horrors of martyrs are a resplendent reminder that with all sham and drudgery – something awaits us after. The only reason now is to make life count.

Too often, we underestimate the time left we have here on earth.

STILL A BETTER LOVE STORY THAN TWILIGHT!

STILL A BETTER LOVE STORY THAN TWILIGHT!

Let the right one in?

Ah. Young love. While most of the younger generation greatly ascribe to forever due to vampire books emphasizing the amazing capability of lasting love, it would seem that people have become too driven for perfection.  No I’m not being cynical, nor do I abhor the power of love as a choice. What I am surprised, however, is the notion of love is being relegated to a perfect correlation in the depths of time, space and age that irks me. Something ethereal, many people believe that love can be confined into physical – if it ends, however, the bitter sinks in to believe that nothing is forever.

Amusingly, let the right one did not entirely scare me. As much as the swedes are known for subtle, slightly pretentious films – this kind of horror left an inkling feeling. The snow together with the slow pace of events greatly show the innocence of Oskar and Eli until the latter starts killing people and taking blood. The story takes on bullying as a theme, the usual lanky boy gets picked on by the arrogant one and his henchmen. Of course, in the adult realm, Hakan was also coerced to keep Eli’s secret by swearing allegiance and draining blood for the latter. The view that Hakan and Oskar were competing for Eli’s affection is another point that would most likely explain the events that transpired. While the old man could not keep the Vampire in time, so will Oskar once he passes on through the sands of time – leaving Eli in her immaculate state. While Oskar wants to keep Eli around for the sake of friendship, he probably realized the concept of puppy love in his childish years – way too early for most boys. The young Oskar learns how to Morse code, and if the message is decoded, surely there is something sweet along the line.

The issue of bullying also circles around the two. One has to kill for a living, extracting blood in the hopes of keeping someone he deeply loved. The other, who despite being adept to the knife, has to endure verbal abuse from his peers, while powerless to change his current state. Considering that both were around 12 at the time when they met Eli, the clueless guys have fallen for the adorable girl. Hakan would later motion to Eli not to meet the boy tonight, as if he knew what the outcome would be, or just simply relegated to pedophilia.

But it surprises me that in one scene, Eli’s face changed to that of an aged person. Quite possibly, Oskar has an effect that stimulates her in any way, which may have develop slight affection from the vampire. What’s puzzling is Eli herself mentioned that she wasn’t a girl. Maybe it was directed to Oskar to prevent him from liking her. Interestingly enough, the story is strung together in such a way that it engages the viewer, but at the same withdraws from it, allowing each to see the beauty of love in psychological horror.

As a result, it is still really hard to distinguish why the title is Let the Right One In. If the premise was that of choosing who to enslave and task to collect blood from innocent people were the problem it would have been easy – anybody. Interestingly, Eli decided to offer advances to Oskar, such as friendship, relationship, help, in the way of testing him – but his innocence would prevail. Why on earth would a vampire choose to befriend a wimp and clueless boy to begin with? Sure, the ending consummated in Eli saving little Oskar from drowning by severing and dismembering those who wanted him to suffer. While the train scene where the partners make a run of the border sounds very western – this seemingly sets the tone that things will be better.  The ending seems romantic, but at the same time, letting the right one in may have finally finished the continuous line of servant-master relationship. For most of the cynics, however, the concept of happily ever after enshrines the film. But let’s just be clear here, In the beginning, one mentions that “just so you know, I can’t be your friend”. Quite possibly, maybe she was sick and tired of running from that kind of live – and wanted to settle in once and for all.

The Truth. Lez bi honest?

May

 

Homosexuality, especially in a country that leans toward heteronormativity, is something that is only recently touched upon in Philippine cinema. Those of the homosexual community may seem to be different from the dichotomous male and female, and, because of this, they tend to be subjects of conversations and issues. The film May circles around, albeit not centrally, this homosexuality, and how, the desire for the acceptance of society, brings out the best, and definitely the worst, in people.

 

The film is about May, an overly discriminated child who has been laughed upon because of her peculiar attitude since childhood. Further, she had a ‘weird eye,’ which children her age

have begun to deem as that of the eye of a pirate. Because she had difficulties establishing and maintaining friendships with people, her mother says gives her an advice that would most likely shape her childhood and her life as an adult. That is, she said, that if May had difficulties finding a friend, she could always end up making one. As she aged, May grew up to be a veterinary assistant. Her doctor has fixed her eye by putting a special kind of contact lenses that she would use. As a sign of improvement, she has also began interacting with different people better than she had in her childhood. She meets Adam, who, eventually ended up being her love interest. Around the same time, her co-worker Polly, who is a lesbian, has begun showing romantic interests towards May.  After a few scenes, in a romantic episode, May bit Adam’s lip, despite her efforts in trying to keep her attitude problems, if I may say so, at bay. With this, just as the people in her childhood have thought of her, Adam found her weird and eventually cut ties with her. This broke May’s heart. After other life experiences that May went through, such as working at a school for disabled children, she had finally opened herself to the idea of being in a romantic relationship with Polly. However, when it seems to have been going well with May, she finds out for herself that Adam and his friend has been thinking of her as weird, and, Polly has been with another girl. Feeling rather alone, she eventually meets Blank who was quick to flirt with May. However, when he went to her apartment, he found a cat’s corpse in her freezer. This of course caused Blank to leave, consequently hurting May for a third time.

 

The various difficulties that May has experienced throughout her years of struggling with a deemed ‘abnormality’ have made her more angry, eager to create a friend that would be accepting of her. Finding out that the people who have hurt her have bits of the perfection that she has been looking for, she plots to kill them one by one in order to obtain their parts that appeared perfect to her. She eventually creates a ‘friend,’ following the suggestion of her mother back when she was a child. She names her Amy, the same letters found in her own name. The movie ends with Amy appearing to be more alive for May, giving her the love that she had never felt before. With that, May is finally overjoyed.

 

Homosexuality tends to be a cause of apprehension, especially for the heterosexuals, because of the seemingly daunting uniqueness of their experiences. May’s ‘weirdness’ may only be a representation of the ‘weirdness’ that people attach to the homosexuality. It is normal, perhaps even part of the human nature, to find things that we are not familiar with as weird. It was successfully made into a horror film because of the difference in the way of thinking that May had when compared to most of us. We then could be quick to say that, more so for those who are homophobic, that this is because of May’s homosexual tendencies. Admit it or not, some people think of homosexuality as a monstrosity, deliberately going against the norm to appear of as something distinct, thus requiring much attention from its viewers.

 

I think that, instead of focusing on the seeming problems of May’s cognition, that we may easily attribute to her homosexuality, it is important to focus on the necessity to create spaces for discussions on homosexuality to occur. Simply put, I think that the story of May is the filmmakers way of conveying the message that homosexuality needs to be given more focus in order to be understood further. There is more to homosexuality, much like May, that what meets the eye, pun intended. With that, the audiences are called to go beyond the apparent ‘weirdness’ and look at the story behind what simply meets the eye.

 

Wham, Bam, Thank You Ma’am.

Possession.

Men are driven by desires which sometimes they cannot fathom. Controlling their ID to satisfy urges need more than convincing, let alone right reasoning, to delay gratification. Their objectification of women, however, whether it be driven by greed, lust, envy or pride, can make them into savage animals. Getting attached to a particular one, and repeated attempts to satisfy thirst can generally be destructive in the end.  Deadgirl, for one, follows two desperate young boys who, upon failing to pursue the girl they want, luckily end up in an asylum. Rickie and J.T, by some random stroke of luck, run into a naked woman which the latter is interested in raping. From the onset, it is already particularly eerie to find out that the girl is undead after three attempts of killing her. Then again, this thirst leads Rickie (when he gets dumped by Joan) and Wheeler (upon discovering free sex) proceed to brush the threats from the Joan’s boyfriend off.  Of course, it is particular to note that the underlying thirst for sex influenced Johnny to pursue Deadgirl’s benefits, which leads to an infectious disease. Now, this becomes a turning point for Wheeler and J.T, still driven, more than ever, to receive sex from Deadgirl.

Then again, the circling theme of thirst still resides in the duo’s minds, upon learning of the infection both wish to keep deadgirl fresh – so both decide to polish the body. This shits from a very feminine character to something that has been entirely desecrated, void of bodily perfection. The plot eventually takes a turn when the Rickie instead, is filled with the desire to save the deadgirl. In an encounter in the basement, JT had a hidden agenda by convincing Rickie to let Joan be bitten. This highlights the underlying want to possess Joan’s body for personal reasons. This eventually backfires and leads Deadgirl to rise up and get even with Wheeler and JT.

The series of events finally consummate when a moral dilemma hits Rickie and Joan upon escaping from the basement.  JT, who sees Joan stab her in the back, infects her with the disease from the Deadgirl which ensues in havoc. The dog as well, is not spared by the feminine-like monster capable of fighting back. What surprises me though, I suppose, is the offer JT makes to free Joann from the misery by biting her. The attempt at reverse psychology to try and “immortalize” the girl still is within grounds of desire and lust for a better looking tool than the previous Deadigrl.

The bizarre part actually begins in the end. To imagine that Rickie himself would construct Joan as the next deadgirl baffles the viewer. Could it be that his deep-seated desires finally manifest through Joann? Apparently, Joann looks pristine in her dress. By the looks of it, the slave is well looked after.  At the end of it all, the relatively simple notion of sexual frustration circles around the topic of Deadgirl. Teenage hormones, as well as not having enough, is central in the process – to a point that a lifeless body would be raped many times over. Most would be quick to judge that Rickie was certainly after Joann, and his ethical behavior was shaped after the dismal rejection.  The visceral act of raping a zombie, and finding ultimate pleasure from it, to a point that insatiable thirst, leaves the question of humanity and its desire to derive satisfaction from the abject of a body.

The question of patriarchy also is contention, while the film focuses on the inner desire of men. Rickie at one point, decided to take the moral high ground by rejecting such satisfaction – but is quick to free deadgirl at an opportunity. To an extent, most would find this pleasurable. To have something which you don’t get a normal basis, and to relish it even if it means having a bland experience. For some, this kind of notion, although dreary, is pleasurable. There’s no denying that stirs the senses – albeit the dryness of repeated acts, consumes one from the inside to have more even if it means disposing one and moving to the next. Does this sound a bit like a presidential candidate of ours? Who, at the swing of a finger – removes drug lords left and right? Fancy his womanizing schemes? Now I’m not endorsing anyone here. But the thirst for pleasure is destructive – and it can bring down your friends too, like JT and Wheeler

For you, a thousand times over.

Grace

 

Motherhood, as they say, is the most difficult profession. Mothers are always on call 24/7, attending to the every need of their child whenever and wherever. Any film that situates the context of mothers proves to be a film that can lure audiences from different age ranges, to watch and patronize it. Given a different light in the horror film, it may be seen that, even in adverse situations and circumstances, mothers are indeed willing to do everything in their power to keep the custody of, and protect their children.

 

The movie Grace is about a girl of the same name, the child of a woman named Madeline, who was thought of to be dead fetus due to an accident that has supposedly killed the child and her father. Madeline did not want for the child to be taken away from her, presumably due to any mother’s affinity with her child, born or unborn. However, after a few weeks of delivery under the assistance of Patricia, Madeline’s friend and a midwife, they have found that Grace is miraculously still alive. Throughout Madeline’s experience caring for Grace, she had found things about the latter, such as the rotting smell from the child even with unsoiled diapers, that she refused to be very much wary about. Instead of being wary, she instead became very accepting of the child, doing everything that she could to make the situation better for Grace. She does this so as to keep from her omnipresent mother-in-law (Vivian) from taking the child away from her.

 

Instead of breastfeeding from Madeline, Grace was biting of her breasts, making them bleed. Madeline then realizes that instead of the milk, Grace was living off the blood that came from her breasts. With all of these happening, Vivian has not stopped watching Madeline, wanting to prove that she is unfit to raise Grace, and wanting the child’s full custody. Dr. Sohn, the obstetrician that Vivian had wanted them to have check-ups under from the start, went to Madeline’s house upon Vivian’s request. Madeline knocks Dr. Sohn unconscious. Knowing that Grace needed blood to eat, she used Dr. Sohn’s blood to feed to the child. Vivian sees this, and was, of course, enraged. This resulted to a fight between Vivian and Madeline, but Madeline was able to rip Vivian’s throat with her teeth. Afterwards, Patricia, who has been deprived of any information about Madeline because of her jealous lover, comes into the scene and sees what happened. Madeline shows that, with Grace’s aging, the child no longer simply makes her breast bleed. Because Grace is now teething, she has bit of a part of her mother’s breast, which then leaves the audience questioning what would eventually be required to continue raising Grace.

 

With the signs that Grace is alive because of something supernatural, proven more by the strange occurrences that emerge as Grace ages further, there have been no instances of religious exorcisms that would have possibly taken place. Comparing the movie with other films that have a seeming exorcism theme, there was no efforts to bring in a religious leader to cast away the spirit from that of the inflicted. Instead what is highlighted here is the immense love of a mother. There is no bound with a mother’s love. She is willing to do anything and everything for her child. More so, she would fight anyone, even the elderly, when they try to separate her from her child. Indeed, because children do come from the womb of the mother, her own flesh and blood, she would sacrifice even her body, literally, and her life, for the child.

 

Despite the horror genre, I greatly appreciated the movie because it was a reflection of what my mother was willing to do to sustain me. It was not easy to continuously provide for my needs, pay for my education, and feed me, when you have been having difficulties in life. She has given all of her to bring me to where I am. This is why, save for the physical giving of oneself, as Madeline did give her body to keep Grace alive, I saw myself in Grace and my mother in Madeline. I do not think that any mother would be content with anything less than the best for their child, even if sometimes, they would have to grapple with their own situation to focus on their children. It is with this, that, more than the rather uncommon storyline that the film exhibited, I focused more on the efforts of Madeline to be the best mother for Grace. In this I realized that it is not easy to be a mother, it is, more than a simple task, an everyday vocation and passion that we, their children, must thank and be eternally grateful for.

The Innkeepers

Open Doors. Closed Spirits

 

There is always something eerie about old hotel edifice; the dim lighting, the dusty chandelier. This is perhaps the reason why hotel buildings are usually the setting of horror films. There is a fascinating thrill, or perhaps a sheer fear, of sleeping in a place that’s not your home. With every turns that one guest makes lies an uncertainty of seeing parts of other people’s past, which, are unknown to them, might not be visible to most of the other guests.

 

The Innkeper revolves around the story of two ghost enthusiasts working in an old hotel — a recipe for disaster, or a matchmade in heaven, however one chooses to see it. Leanne, who is known to be a psychic, was a medium, who had warned them that indeed, they were about to see what they have been looking for. They wandered until they found two that would be difficult to forget. One of the ghosts was revealed to be an old man, who had previously requested to be placed in a suite where he had shared with his wife. As Claire goes up to the floor and eventually his room, stripped off furniture that once decorated the hotel, she sees the old man with slashed wrist, drowning in his own blood. After a few scenes, the second spirit of the ghost manifested and made itself be felt. Madeline, a bride who hanged herself when she was left by her groom. Her body was found in the basement. Claire heard Madeline in the basement, banging the door. She then panicks, and, because of her asthmatic condition, she falls into a sudden attack. Without her inhaler and the constant rush of fear, she dies a slow death.

 

The movie was interesting because of the possibilities that the stories of the spirits could have been a reflection of the stories of the characters. One might think of how unfortunate the spirits might have been, loving their partners dearly and still not being able to attain the life that they have envisioned. One could then fall into a speculation of the possibility that the lover of Madeline is the old man, having a commonality in the setting of their love story, once upon a time. Further, it can also be reflective of the story of Claire and Luke, as it has been told that Luke liked Claire. Perhaps, he can be the younger version of the old man, lingering to a place where he had fele the love that he had wanted to hold on to, at least for as long as he could.

 

My fascination with horror films has stemmed from the fact that, sometimes, there are scenes that they could have avoided. The most thrilling, or most annoying, part of watching horror films in Philippine cinemas is its predictability, hearing a bunch of “Ayan na! Lalabas na!” In the same way, it was quite unusual that the characters had no means of communication to the outside world. If they had been looking for ghosts, and did not want to, sadly, die in the process of, they would have left their communication lines open should something go wrong. And, in the absence of a cellphone, that was exactly what had happened. Something went wrong, at the expense of lives.

 

Reverting back to the stories of the spirits, I think that the film was likewise a Psychological spectacle. Indeed, women would find it very difficult to face the same and the loneliness that would be brought about by getting left at the altar. For women, getting married and settling down would be the highlight of their lives. Ending with the man they have longed for, for them, would be a perfect way to start a new chapter in their lives. As such, falling short of that, would definitely take its toll on them, as exhibited by Madeline committing suicide. In the same way, the old man, who, as previously mentioned, had envisioned a long and happy life with his wife, was halted by her death. These spirits have shown that, when people lose the perfect love that they have found, they would do anything to stop themselves from feeling the hurt and the pains of living without that love. This would go even to the point of ending their lives, as indeed, there is no life after being ripped off your soul, left incapacitated to live and love again.
The movie ends with a silhouette of a ghost and the loud thud of the door. It could presumably be Claire’s ghost, shutting the people out of her story. That it was a story foretold, and a story she wishes no one else would encounter. In spite being enthusiasts, then, it can be said that spirits still cannot be predicted by any of us. There are stories that spirits want to tell us through their apparitions. These stories, appearing either peacefully or angrily, should be accepted by those who wish to see them, understanding what they are still here for.

28 Weeks Later

The Unpopular Humor

 

Horror, like any film, leaves audiences wondering about the spectacle that it can bring. More than the cinematographic experience of looking forward to the transitions of the scenes, the spectacle comes from the stories, the well thought plots that envelope the film. However, this is not the case for some non-British audiences about British films, more so British horror. There are spectacles, then, that remain as spectacles, but only to a limited set of audiences. Yet the success of movies, the reconciliation of the seeming differences between British and non-British horror lie in the negotiations of meaning in relation to one’s own culture.

 

The movie 28 Weeks Later speaks volumes about the puzzle that is the British humor. The Brits have their own classic ways of finding humor. However, it appears that British humor is not likely to sell to audiences outside of Great Britain because of their different takes and interpretations on overarching issues and concerns. There is a British way, and there is a non-British way. Thus, taken from a filmmaker’s’ perspective, this poses a problem in a movie that is supposedly made to make it rounds worldwide.

 

The movie, as a whole, exhibited gore. Coming from someone who generally likes the zombie horror genre, I expected more than splats of blood and a whole lot of running. It was plain, in the sense that, in reference to the spectacle I have previously mentioned, I was definitely expecting more. From asking around, it turns out that I’m not the only one who thought as such, that they were looking forward to a better plotline and cinematography, especially since this is already a sequel.

 

Perhaps, this is where the idea that British films are made “just for entertainment.” However, who are we to say that that criticism is only for the Brit? It is, rather, a gutsy thing to say when you’re a Filipino, were movies supposedly bank on the cheap humor that is sellable. Much like the British horror films, Filipino films only sell to a certain audience. Well and good if these movies sell to most Filipinos, but even so, they don’t. Both Filipino and British horror films are geared towards a specific set of audiences. However, when you look at it, aren’t most movies this way? A hit or miss? A movie considered to be a  blockbuster to a specific audience, and a flop in others? Why single out British movies? Is it because they have a view on things, interpretations, and a manner of speaking quite different than ours? But again, don’t we all?

 

Here lies a problem of people seeing from their own perspective. I would like to assume that those who do not like British films are the non-Brits. It is easier to say that you do not like something, instead of tiring yourself out in understanding it. However, I would say that this is more of a reflection on the kind of audiences we are, rather than the kind of film that was made. Yes, indeed, I expected more from the movie. However, one cannot take away the fact that the filmmaker is British, and I am someone outside of that culture. What is good for me may not be the standard for others, and vice versa. Moreover, what could have been an issue for them, might not have been an issue for me. Differences in opinion, like seeing things differently, would always occur and should not be a problem. However, it becomes an issue because nowadays, art is juxtaposed with profit. That and we highly other the British culture, creating great distinctions between us and them.

 

This film would definitely not alienate me from British movies. If anything, I would like to see more British films that would better explain their humor and their culture. I say this since I, myself, have a humor that does not sell to most. While others take pride in having a humor that mimics pop culture, mine would be the humor that takes a double look to understand. People have often questioned me with such, why is my humor as much, why is my way of thinking as such. But, just like how British filmmakers would talk about their craft, it’s either you understand me or you don’t, but it doesn’t make the message I want to convey any less.

 

British horror films, as any horror, or any film for that matter, are highly dependent on the way the filmmakers understand the experiences and the images that would depict fear. As such, it is the task of filmmakers to portray their ideas of fear in each scene that they choose to frame. Their people trying to convey their messages, their personalities through the films that they make. It may be argued that art should be appreciated by all; however, true fans of art would say that more than their own understanding or interpretations, it is the self expression of the artists that they have come to watch. They are looking at the spectacle from the eyes of the filmmaker. It is not simply the problem of the British, trying to convey their point across, more so to non-Brits, but a problem of each of us trying to be understood in a pluralistic world. Like my humor, I don’t think that British horror films should be penalized for that. Either you like them, or you don’t, but it doesn’t make them any less of an artistic film.

 

 

It Follows

 

The Change-bearing Look of a Woman

 

Horror films have elicited various responses from people. The men, save for some who would rather watch action that exudes machismo, would take pride in saying that they are brave enough to look through all scenes. Women, on the other hand, are stereotyped to be those who would cover their eyes or hide  following hints of a rather daunting scene. Beyond the gender stereotype, there might be other reasons only after the curse being transmitted to Jay might be asked. Is this, in one way or another, related to her being a woman “existing only to be looked at” by men?

 

Blindness of women,  both literally and figuratively, as portrayed in some movies may depict their incapacity to return the gaze of the men who look at them with oozing desire. This somewhat conveys the message of the distance that women puts from these stares of men, perhaps protecting themselves from revealing (too much of) their own desires. When women return such gazes, they are penalized, in that these are made favorable and acceptable for men and their “masochistic fantasies.”

 

Perhaps the movie would not have been as interesting had the story revolved around a male character. Much like what has been said in the reading, patriarchy holds a power on women. Men have tendencies to project their fears differently. In a world that is slowly shifting from patriarchy to societies that tend to be more accepting of what females can do in society, those who once have felt strong power and dominance would fear of dethronement. Much like their reluctance to show their fear of hair-raising horror film scenes, men exhibit fear of dethronement differently. Behind the machismo  so as to why women refuse to look. It may be quite interesting to understand how this instance in horror films reflect a more deeply-rooted societal practice.

 

The movie It Follows features the story of adolescent issues of discovery, identity, and the desire for liberation from those deemed as authorities. In the film, Jay became the latest ‘victim’ of a sexually-transmitted haunting that has long been passed around. As such, the only way for her to be free from this worry is to again pass it to another person through sex. She thought of sex as rather liberating; however, instead of being freed through having sex with Hugh, she veers away from the freedom that she hopes for. Jay becomes the avenue through which the curse would be transmitted, causing her more harm than liberation. In this light, questions as to why the story escalis a vulnerable male, struggling to accept that the women are catching up to the power they once solely held. More than women being rather punished for looking at monsters, these ‘looks’ now become a threat of their capability to do so. That they are no longer simply objects of interest for the male, but they are also starting to become as popular as males. It is threatening, and, perhaps required by machismo, the way to dismiss a threat is by punishing the causes of it. In spite of the seeming equality, and maybe the rare superiority, look down upon and punish what you fear.

 

As such, Jay, then, is focused on by the plot. She is the one burdened. The film was more than a coming of age film. It was more than the discovery of the adolescent problems that each teenager would go through. It is a reflection of a deeper societal problem of acceptance of equality. It might be easier to understand things that are either superior or inferior to one another; however, to see things as equal needs understanding of that possibility. I found the film interesting because admittedly, it is relatable. One need not go through what Jay has gone through to understand the emotions that she and the people around her have gone through because of their sheer desire to know more about the world that they are in. It teaches you that there are things you cannot predict. There are things that you expect to happen, but as it turns out, lead you to another. Life, for both Jay and the audience, is a cycle of being curious and discoveries.

 

Indeed, just like what has been exhibited in the film, there are emotions that are aired out, emotions that can no longer be kept or hidden. These changes, whether they be changes in ideology or changes in the way we see ourselves and our bodies, I dare say as having gone past through my teenage years, follow us. The cinematography of the film features scenes that would sometimes show that there is no destination or an end in sight. More so, it might not even given us the slightest idea where these changes would take us, or the characters in the film. This may signify the long journey of acceptance and coming of age films would still bring those who willingly let them do so. It is a process, a journey, an uncertain feat. But, at the end of the day, it is through these twists and turns, the unexpected missions or burdens we suddenly have to bear, that we find ourselves capable of adapting to the changes in our world.