From "Ang Babae Sa Septic Tank's" Facebook page
*As of the time of writing, Ang Babae Sa Septic Tank is still showing in cinemas. Please, please do watch it. It’s awesome and you won’t regret it.
A scene where the protagonist ends up swimming in feces is not exactly new to moviegoers — Slumdog Millionaire. Jamal. Ring a bell? That scene, among many others, earned the Oscar Best Picture winning film the label “poverty porn:” the exploitation of the desperate quality of life of the poor for controversial, cinematic purposes.
The Philippine independent filmmaking industry is no stranger to poverty porn accusations. This is the theme that Ang Babae sa Septic Tank explores, armed with effective wit and brilliant acting.
Like most members of my generation, I love self-reflexivity and all things meta in art, including film. (I mean, you could probably make a case in arguing that Ang Babae Sa Septic Tank is also exploiting the exploitative nature of filmmaking.) In the deconstructive tradition of Bayaning Third World with a humor reminiscent of Adaptation, the film explores the strategic process of creating a film (titled Walang Wala) that will bait the international film festival market to shower awards on the two male protagonists, Bingbong (the producer, played by JM De Guzman) and Rainier (the director, played by Kean Cipriano).
The main strengths of Ang Babae sa Septic Tank are the writing and the acting. The screenplay, written by Chris Martinez — whose ability to hit both comic and dramatic notes has been proven in past films, Here Comes the Bride, 100, and most recently, Temptation Island — is full of astute observations about the indie filmmaking world. The cast, lead by the seriously funny Eugene Domingo, is as perfect as a cast can get, even down to the female documentary “subject” the filmmakers imagine in their heads. Apart from Eugene Domingo’s nuanced performance, Tad Tadioan as Direk Arthur Poongbato was a scene stealer. Every second of that coffee shop scene was gold.
As the film shines light on how some indie filmmakers capitalize on poverty to sell their films, Ang Babae sa Septic Tank also displays the “perils” of film realism. Unlike Philippine mainstream cinema where movies are more often manufactured rather than created, Philippine independent filmmaking aims to capture the gritty and abrasive reality of Philippine society. But the Walang Wala filmmakers and lead actress seem to forget that reality is alive and dynamic. It cannot be wholly controlled by framing techniques, treatment styles, and diva-like demands of a film star.
Bingbong and Rainier, along with their production assistant, Jocelyn (played by Cai Cortez), get their comeuppance when, as they celebrate the discovery of the perfect film location oozing with squalor, the producer’s car is stripped to pieces by the inhabitants of the area. After all her condescension in accepting the role of Mila and her exacting demands, including a body double, the lead actress, gets hers when she accidentally falls into a septic tank and ends up filming the scene she so avoided doing.
Despite its very abrupt ending, I think Ang Babae Sa Septic Tank will age well. In the years to come, it will be noted that back in 2011, the moderately self-righteous Philippine independent film industry — seemingly free of the chains of box office pressure, product placements, and studio demands — looked into the mirror and saw that it was starting to look like its sister, Philippine mainstream cinema. It remains to be seen if indeed the Philippine indie filmmaking world will continue on this trajectory. I sincerely hope not.
Quotable Quotes:
“The shakier the shots, the better.”
“You makes us all proud. More powers.”
“Pag boy, mas may award.”
“When in doubt, elevator acting!”
“Si Cherry Pie, mas maternal.”
“Aware naman kayo na ang tae totoong tae?”
*Ang Babae Sa Septic Tank is written by Chris Martinez and directed by Marlon Rivera. It won Best Film at the 2011 Cinemalaya Film Festival, along with the Audience Choice Award, Best Director, Best Screenplay, and Best Actress.
