‘Paglilitis’ REVIEW: Trial by social media
‘Paglilitis’ REVIEW: Trial by social media
Rissey Reyes-Robinson in Paglilitis
More and more people have become vocal about their painful encounters with abusive, influential men. Companies remain complicit, willing to cover up these crimes to protect their image rather than the welfare of their employees. This despicable practice has been going on for years and gladly, in defiance of their power and authority, people are speaking out to receive the justice they desperately need.
In Paglilitis, Rissey Reyes-Robinson plays the role of Jonalyn Samuel, a former executive assistant, who finally gained the courage to sue her former boss (played by Leo Martinez) for sexually harassing her multiple times during her stay in his company, after being persuaded by a passionate and influential attorney (played by Eula Valdez). There was no tangible evidence to prove that her boss harassed her, as it happened behind closed doors, and the reason for her termination was said to be due to her irresponsibility as an executive assistant.
Cheska Marfori’s Cinemalaya entry plays like an hour long episode of Ipaglaban Mo or Maalaala Mo Kaya, minus the voiceovers of a host. By the end, it leaves you with lingering questions that shouldn’t have stayed with you had it deliver a more reliable ending. Episodes of Maalaala Mo Kaya and Magpakailanman are more supplemental with how they wrap up their episodes (well perhaps Charo Santos’ and Mel Tiangco’s closing remarks at the end of their respective shows add a sense of closure to the narrative). The film never feels preachy and it does try its best to get its message across to the audience, yet the time they spent on highlighting the social media aspect of it all ultimately led to the film's demise.
The film reflects the reaction of people towards a controversy perfectly, with influencers chiming in with their thinkpieces on how we should side with the victim. But in the age of #MeToo Movement, it seems like the movie forgets that no matter what happened to the abuser, the public would still side with the victim. While there may be a few detractors, the support doesn’t suddenly fade, even after the identity of the victim is revealed or when lies about them surface. It was as if the movie conveniently chose not to follow the reality of today’s society to heighten the film’s conflict and impose a sense of isolation towards its protagonist, which is frustrating.
Rissey Reyes-Robinson in Paglilitis
The film’s saving grace is ultimately its performances, and what the film does best is how it captures them. In her debut lead role in a film, Reyes-Robinson is a revelation. In one scene where the camera lingers on her face, she was able to lace hurt, fear, and reluctance in her face. Acting alongside veterans must have been a daunting task, yet Reyes-Robinson delivered impressively that it would not have shocked me had she been awarded Best Actress for this year’s edition of the film festival.
Another noteworthy performance was from Jackie Lou Blanco, who plays Mildred, the boss’s wife complicit in covering up the nastiness of her husband. She stands by him, and the audience can’t help but feel a sense of disgust as she unironically prays her Hail Marys in her bedroom, as if she’s trying to wash her husband’s sins off her hands. The remaining ensemble — Eula Valdez, Leo Martinez, Barbara Miguel, Cherry Malvar, and Sid Lucero — gave convincing performances despite their limited appearances.
As with some films I have seen during the festival, the film’s runtime as well as its screenplay limits the narrative’s full potential. While the ending was optimistic, it lacks the emotional and satisfying punch needed to wrap up the whole film’s thesis. Its concept and script show real promise, and there’s a more visceral, hopeful film that exists only in our imagination, one that takes place after the events of Paglilitis. Unfortunately, we have to settle on what was presented on screen.
Paglilitis screened last October 3 to 11 at the 21st edition of Cinemalaya Philippine Independent Film Festival.
