However, with that said, the film itself is happy to keep us guessing on exactly which category it belongs to. Ilarde isn’t making it easy – his film’s flow is vibrant and chaotic with energy with the story hopping from genre to genre like rafts on a river. Despite this, the film’s director/co-writer is very cognizant of the conventions and respectful of the rules. Like many films before, it starts with a heist. True to tradition, though, it goes awry not long after.
Sam, an ex-soldier, becomes involved with small-time crook Pepito and they become partners in a robbery for local kingpin Johnny-B. Both were serving time before Johnny-B facilitated their early release. However, Pepito’s has his own plans – one that doesn’t include everybody else. Forced to action, Sam finds himself alone with only the stolen money for company. Knowing that Johnny-B will soon be sending out his henchmen to look for him, he finds asylum in a seemingly abandoned subdivision where – among the derelict houses and the overgrown vegetation – there also lives the beautiful Katia. Trouble is, where beauty stays beasts may not be that far away.
The heist of the beginning of the film is the MacGuffin – the plot point that pushes the story forward – that eventually leads to the stage of the centerpiece of the film: the subdivision. Once we enter the gates, we arrive at an interzone of film conventions that is the cinematic equivalent of Ilarde throwing up as many balls in the air for him to catch. Why there’s even a kung-fu action sequence and a genuinely tender if somewhat naive love story at the heart of this monster.
Although given the difficulties of juggling everything, Sa Ilalim ng Cogon finds itself dropping a few balls. Most notable of all is the haphazard sound design and the sometimes ruthless mangling of composer Malek Lopez’s lush score for the romantic scenes to give way to the abrupt cuts of the thriller action scenes. Also, given that so many things seem to be happening all at once, it is inevitable that one or two plot threads aren’t sufficiently explored to their best conclusion. Maybe that’s a given for genre cinema and the reason for the proliferation of sequels?
But what the film has over many of its decidedly more artsy counterparts is the exceptional acting of its featured leads. At this point, Yul Servo as Sam is so adept at playing characters in over their heads that it threatens to be stereotype. Julia Clarete is nothing short of brilliant in her role as Katia and definitely distinguishes her as the Lolita Rodriguez of her generation. The supporting players (which include Raymond Red, stalwart Raul Morit, visual artist Art Maculangan, award-winning music video director RA Rivera and the always dependable Joel Torre) all add splendid color to the whole affair.
Sa Ilalim ng Cogon has been recognized abroad before even having a proper screening anywhere in the country. It has just recently won the award for Best International Feature at the Rojo Sangre Buenos Aires Fantasy/Horror film festival where it bested entries like Ireland’s Dead Meat. It’s next slated to be the opening film for Cinenygma Luxembourg International Film Festival (where films like Saw 2 and Joss Whedon’s Serenity are competing). Not at all bad for a film that failed to get into any of the major Filipino film festivals this year – ironically dubbed a breakthrough time for independent cinema.
No matter, Ilarde has made a film that might actually get mainstream audiences watching independently-made film. Even if there may be better "indie" films on offer this year, this is undoubtedly the most fun you’ll have watching one.
Cthulhu Fhathgn!