REVIEWS
FORUM
Phil. 2011. 90mins Director Marlon Rivera Production companies Martinez Rivera Films, Quantum Films, Straight Shooters Media Inc Sales contact Quantum Films,
jvalonso@yahoo.com Executive producers Marlon Rivera, Chris Martinez, Josabeth Alonso, John Victor Tence Screenplay Marlon Rivera, Chris Martinez Cinematography Larry Manda Editor Ike Veneracion Production designer Norman Regalado Music Vincent de Jesus Main cast Eugene Domingo, Kean Cipriano, JM de Guzman, Cai Cortez, Jonathan Tadioan, Cherry Pie Picache, Mercedes Cabral
The Woman In The Septic Tank
REVIEWED BY MARKADAMS
Filipino director Marlon Rivera’s freewheeling mockumentary about film-making and stars in his country is an engagingly oddball jaunt through the slums of Manila and the homes of mega-rich performers, and while at times scattershot in terms of the targets it hits, there is a lot of fun to be had along the way and especially in terms of the wonderful performance by come- dienne Eugene Domingo. The film, which screened in the Busan and Tokyo film festi-
vals and was the Philippines’ entry for the Oscars’ foreign-lan- guage category, blends outlandish comedy with musical numbers and has a little drama on the side. Initially a little con- fusing it finds its feet as the story draws on, and ends on, a real high as the septic tank of the title comes into play. Rivera and co-screenwriter Chris Martinez have concocted a
low-budget film that pokes fun both at indie film-making sensi- bilities and the pomposities of local stars. Released in late 2011, the film has been a big success in the Philippines, grossing $910,000 (PESO38.4m) and becoming the highest-grossing Fili- pino independent film in history. The Woman In The Septic Tank (Ang Babae Sa Septic Tank)
follows fresh-faced indie film-maker Rainier (Cipriano) as he scouts the Manila slums with his producer Bingbong (de Guz- man) and production assistant Jocelyn (Cortez) for their upcoming film Have Nothing (Walang-Wala). The initial concept is that the film will follow the tough cir-
cumstances of impoverished mother Mila who finds herself forced to pimp her pre-teen daughter to an elderly Western pae- dophile. As they tour the slums and mull over casting, they envisage different ways the film might be shot, with the varia- tions of footage poking fun at different styles of Filipino cinema. These range from super-bleak melodrama through to a glossy camp musical. They manage to arrange a meeting with legendary local
actress Eugene Domingo (star of Kimmy Dora and Here Comes The Bride and playing herself with a great deal of knowing fun) in her stylish home and who is enthusiastic about their low- budget dramatic ideals. Though naturally she also has more than a few thoughts on how she would play the role. She balks, however, at having to play a scene where she falls into a septic tank. The joke, however, is on her in a during-credits sequence where she and the tank finally come together.
n 18 Screen International at the Berlinale February 11, 2012
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