Life between heaven and hell

Film review: Sta. Niña

MANILA, Philippines - Ten years after Mt. Pinatubo exploded, a quarry worker, Paul (Coco Martin), discovers a coffin blanketed with lahar, wipes off the dust on the glass and sees the face of a little girl. With determination on his face and with steady and sure steps over lahar terrain, he carries the coffin home. It feels like a sacrifice and a long, long trek. The audience soon learns that the child is Paul’s. From here on, questions begin. Why does Paul not want to bury the corpse of Marikit? Is it only because it’s his child? Paul untiringly asks himself and others why it appeared to him after so long. There must be a reason, he says. But what? Is he using his child to wash his guilt away? Is it wrong to love? Must a sinner forgive herself or himself?

The dead’s mother Magda (Alessandra de Rossi), estranged from Paul, tells Paul to bury the dead. A burial turns out to be a metaphor for burying the past and moving on. Instead, Paul bullheadedly keeps the coffin in his small abode, where he lives with his Lola Bining (Anita Linda), who shows signs of dementia. All Paul can think of is that his child, who died of meningitis at age two, whose body has not decomposed after many years, has come back to remind him of his sins. So, he decides to be nailed on the cross on Holy Week. While crucified, he and Magda rewind in their mind the love they had against all odds, against the wishes of Magda’s mom Tiya Cora (Irma Adlawan) and against their neighbor’s judgment. It is only Paul’s sister, nun Josie (Angel Aquino), Fr. Mallari (Nanding Josef) and Lola Bining who sympathize with Paul.

Neighbors flock to Paul’s house to get a glimpse of the undecomposed body and pray for a cure to their ailments. The monstrosity of media (inexplicably represented by only one TV news program) reflects our tabloid culture. Family secrets are revealed bit by bit until the final closure.

Sta. Niña may inevitably be compared to Himala, megged by the late Ishmael Bernal and starred by superstar Nora Aunor. The two films deal with religion, faith, intrusion of media and commerce, and believer and non-believers in miracles.

Any comparison, however, is uncalled for. Despite the similarity in theme, differences between the two are obvious. Himala, for instance, approaches the theme on a grandiose scale with a spectacular gathering of masses of people. Sta. Niña, on the other hand, appears to have a smaller budget. Himala is set in a remote, small barrio, while Sta. Niña involves a small barangay in San Fernando, Pampanga. Above all, Himala tackles ideas on a big scale, while Sta. Niña focuses on a family issue that also affects neighbors. Hence, Himala pricks the mind, but Sta. Niña at once provokes thought and touches the heart.

Sta. Niña is directed by Emmanuel Quindo Palo, and co-written by Liza Magtoto and Palo. Any director wouldn’t need to trawl performers for the role of Paul. Coco, a highly sensitive and high-wattage actor, always does justice in the roles he plays. As Paul, Coco is convincing as a cauldron of a confused heart, a questioning mind and a tormented soul. This, in spite of his being poor, of having had no education and of being religious.

All the other actors perform well. Anita deserves Cinemalaya’s 2012 Best Supporting Female Performer award. Only the character of Tiya Cora is one-dimensional.

One thing I missed is a Pampango flavor. Pampangueños are known for their cuisine. Maybe shots of their food during the visits to the “miraculous Marikit” may include at least siling labuyo, grilled eggplant and sinigang. Then, Pampango accents may be thrown in, plus a smattering of spoken Pampango.

In the story development, the revelation of the true relation between Magda and Paul lacks preparation. The single love scene, though very passionately tender as expressed by their smile and body movement one can almost feel the glow, is bitin. Their love is not well-developed. What is emphasized is why Magda fell out of love. But Alessandra’s expressive face during the crucifixion scene is superb.

The lahar scenes are beautiful. The furniture and image-carving give good local color. Of course, the close-ups of Coco depict his insides, so to speak. Anita is so natural, too, and while the audience laughs at her forgetfulness, I am so saddened because I remember old people who suffer from Alzheimer’s disease.

Sta. Niña shows a life between heaven and hell. As a whole, it is engaging, realistic, riveting, moving and unforgettable.