A quirky look at life

What do you call a movie that has you laughing every 30 seconds or so and, as you slowly stop giggling, suddenly has you reflecting on Philippine society and its institutions and norms? I call it Keka.

Keka is Quark Henares’ latest film, a slasher spoof which goes beyond expectations as far as humor and social insights are concerned.

Keka has no clearly defined timeline. Instead, the movie unfolds in the same manner as a kwentong barbero by a barkada over a bottle or two. He starts a thread, continues until he comes into a major or key supporting character, segues into that character’s story, pursues it to his own satisfaction, then goes back to the original thread and continues the story. This is a far cry from our usual "beginning-middle-ending" timeline. Scenes from the start are connected to scenes in the middle and vice versa. This creates a novel sequencing that amuses and heightens the film’s quirkiness.

The film is also loaded with funny observations and vignettes about everyday life. You name it, the film makes fun of it. From fraternities, initiations and male bonding to movie stars, show business, ’80s movies and happy endings, Keka features on the silver screen the things we silently laugh at and makes us see some things we should be laughing at. Henares’ commentaries on pick-up lines (a pathetic Wendell Ramos trying to pick up Katya Santos), models (Luis Alandy portrays a model whose own door is covered with his pictures), cheesy bars (even drawing a parallel to a deodorant commercial, this is probably the third best scene in the movie), and break-ups (again, the surprising Wendell sobbing pathetically over his break up) are pleasant surprises and amusing revelations.

Another ingenious move by Henares has been refusing the "they-lived-happily-ever-after" gambit. Every one seems to feel the need to reassure the audience that everything works out fine for the movie’s protagonists. Henares refuses to give such reassurance, instead commenting that the future is irrelevant. It is not important to Henares’ movie whether Wendell’s character arrests Keka or if they get married or if they both die in a hail of bullets.

But what makes this movie a classic is Henares’ unconventional use of his actors. He refused to be bound by his own actors’ images and abilities. After all, a combination of Katya and Wendell warrants at least one sex scene right? But no – all they have is a romantic kiss at the end, a kiss that isn’t even particularly passionate. Katya goes through the entire film dressed like any other beautiful and normal– albeit murderous–girl while Wendell barely exposes his body. Henares never played up to Katya’s or Wendell’s bold image. Instead, he veered away, transforming the two into credible, comical parodies.

Memorable scenes include Katya purposely striding through the rain to shoot a geeky TJ Trinidad, the cheesy bar scene and Wendell’s sobbing scene, the entire Ryan Eigenmann-Vanna Garcia telenovela shooting sequence, the Ryan Eigenmann-Katya Santos-Wendell Ramos confrontation scene (the intelligent and witty repartee flying all over the scene had everyone guffawing), and the ’80’s movie ending cum dance number sequence (probably the best scene I’ve seen in the past decade).

Among the funniest portrayals is Henares’ own rendition of himself as a young director unable to handle his volatile, bratty star (Eigenmann). Henares seems to believe in leading by example as he parodied himself even as he had a little fun with his actors. Outstanding performances from Katya Santos, an extremely impressive Ryan Eigenmann, a reliable Vhong Navarro and, unexpectedly, Wendell Ramos proved that these actors we categorize as one dimensional (meaning "pang- bold lang" or "pang-comedy lang") are just waiting for the chance to prove themselves playing other types of roles. Credit Henares for taking the risk and for bringing out amazing performances from his actors.

All in all, Keka reminds us of three things. One, there’s always something funny about life. Two, there is hope for Philippine cinema, what with the emergence of directors like Quark Henares (add to the list the likes of Lyle Sacris, Robert Quebral, Lav Diaz, Jeffrey Jeturian, and Raymond and Jon Red). And three, life would be so much easier if our lives ended like an ’80’s movie.

Fade in music (tantan-tan-naaaaaan!), dance number erupts, and FREEZE!