‘Warla’ REVIEW: An Impulsive Power Play Of All Sorts
‘Warla’ REVIEW: An Impulsive Power Play Of All Sorts
Joice (Jervi “KaladKaren” Wrightson), Kit-Kat (Lance Reblando), Barbie (Serena Magiliw), Luninging (Valeria Ortega), and the rest of the gang celebrating their sisterhood in Warla | Still courtesy of Southern Lantern Studios and Cinemalaya
Rage, revenge, and retribution — these are the three “Rs” that best describe this film. Impulsively dangerous and morally questionable, yet grounded in the reality that many underprivileged trans women face.
Warla marks the directorial debut of Kevin Zarate Alambra, previously known for his work on Asia’s longest-running drama anthology series, Maalaala Mo Kaya (MMK). Given its subject matter, I expected that it would explore recurring themes of social realism.
The story begins with the mysterious death of a trans woman, eventually centering on Kit-Kat (Lance Reblando) and her coming of age within a transphobic family — except for her mother, played by Dimples Romana. After leaving home, Kit-Kat is taken in by Joice (Jervi “KaladKaren” Wrightson) and becomes part of her gang.
Did Kit-Kat find her home? Not quite. Enter Barbie (Serena Magiliw) and Luningning (Valeria Ortega), who become Kit-Kat’s new sisters. Like in most families, whether by blood or found, there will be disagreements and schisms, particularly between Barbie and Kit-Kat. Their dynamic reminded me much of what Zion and Bayani faced in Petersen Vargas’ Some Nights I Feel Like Walking. Though Kit-Kat successfully leaves her homophobic family, her naivety still raises the sisters’ eyebrows.
Luningning (Valeria Ortega) and Isamu (Jacky Woo) in Warla | Still courtesy of Southern Lantern Studios and Cinemalaya
On the other hand, I would like to turn the focus to Isamu’s character — played by Jacky Woo, whose name will instantly ring a bell for fans of Hong Kong action cinema. He has the face of a stereotypical East Asian businessman. If you change his character to a Chinese or a Korean person, it will not make much of a difference. In Confucian culture, the father is the most important pillar in a family. Though this is not the case for Isamu, as his son died in an accident and is now estranged from his wife, which is why he’s looking for companionship in developing Asian countries like the Philippines.
*SPOILERS AHEAD* The climax unfolds as the sisters’ moral compass becomes entangled with questions of right and wrong. But when Joice turns herself in to the police, I can’t help but question her choice, knowing that she’ll suffer from the hands of both the police and fellow inmates as well, but hey, I'm least happy for her sisters to go on to their desired paths. I really can’t help but feel deep regret for her giving herself up to the police and letting herself be consumed by cruelty by who knows when it will last.
Warla, while rushed in its pacing, is a study of how individuals reclaim their agency after prolonged agony inflicted by their perpetrators, though at the cost of becoming one themselves. It is also the most divisive film among Cinemalaya 21’s roster of full-length feature films. One can have individual reactions, and oftentimes, it's uncomfortable. Even to the trans audience themselves.
Jervi Wrightston a.k.a. Kaladkaren as Joice in Warla | Still courtesy of Southern Lantern Studios and Cinemalaya
The film feels like a return to the era where the stereotypes of those in the LGBTQIA+ community are shown in a negative light — far from what Ryan Murphy’s Pose achieved when it comes to representation and humanization of trans women and queer people. At least I am at peace knowing that Kit-Kat had grown along with her experiences and finally had established her own agency along with her sisters, Barbie and Luningning, after her successful sex reassignment surgery in Bangkok.
It’s an impulsive film after all. These powerful emotions of wrath and revenge overtake one’s agency and plans, like a wild animal lashing out when wounded or deliberately hurt. Kaya nga Warla eh (That is why it’s rage).
‘Warla' is part of the selected full-length feature film entries for the 21st edition of the Cinemalaya Philippine Independent Film Festival.
